A Quote by Carol Ann Duffy
I write in that space between Ella's childhood and mine. I know it all sounds a bit sinister.
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I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
I always liked major-key music quite a bit, and that might have something to do with so many of the musical experiences of my childhood being based around the piano. On piano, it is very easy to move between major and minor and to really see how it looks and to feel how it sounds.
Ella, just stay here. Stay safe." "Safe," Ella repeated. "Ella likes being safe. Safety in numbers. Safety deposit boxes. Ella will go with Tyson." "What?" Percy said. "Oh... fine, whatever. Just don't get hurt. And Mrs. O'Leary—" "ROOOF." "How do you feel about pulling a chariot?
I had good parents. Two older brothers, bit of a handful between us, all got ginger hair, a bit fiery. I remember a very happy childhood.
Life is sinister. I don't know if I am representing life exactly, but sinister, I think it has to do with dreams. You're dreaming when you're awake: you're sitting on the subway and you look around, and you can think of sinister things that are kind of delightful to think of because they're not really happening, but they are in your mind. They're about wishes, desires - sexy, dangerous, hopeful, the way it could be, maybe.
It sounds formulaic now, but at the time, I was interested in the difference between the thing and the representation of the idea of the thing - the space between the two.
Writing was not a childhood dream of mine. I do not recall longing to write as a student. I wasn't sure how to start.
I inhale great draught of space...the east and west are mine...and the north and south are mine...I am grandeur than I thought...I did not know i held so much goodness.
I'm usually really drawn to a song, and I know it would be good to cover if it sounds like something that I could write, or I wished I could write. Sometimes a writer just sounds like they're in your head, and that is really cool for me.
I know I was born and I know that I'll die...
The in between is mine.
I Am Mine
I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin.
When someone like Kurt Cobain or Jack White comes out, they didn't go, "He sounds just like Muddy Waters," did they? They just said, "He's great, he sounds like him." When women come out and men write about them, they tend to write about them in a way that other men can understand, which sometimes can seem a bit patronizing.
I write about the power of trying, because I want to be okay with failing. I write about generosity because I battle selfishness. I write about joy because I know sorrow. I write about faith because I almost lost mine, and I know what it is to be broken and in need of redemption. I write about gratitude because I am thankful - for all of it.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
I think I always wanted to be an actor - sounds a bit boring, doesn't it? And I pretended once that I wanted to be a vet because one of the teachers asked me and saying you want to be an actor sounds a little bit silly. And I do still feel a bit silly saying it. You feel a bit fraudulent.
If I were hanged on the highest hill, Mother o’ mine, O mother o’ mine! I know whose love would follow me still, Mother o’ mine, O mother o’ mine! If I were drowned in the deepest sea, Mother o’ mine, O mother o’ mine! I know whose tears would come down to me, Mother o’ mine, O mother o’ mine! If I were damned of body and soul, I know whose prayers would make me whole, Mother o’ mine, O mother o’ mine!
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