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Read through the most famous quotes by topic #creative
A word of warning here. The events as you remember them will never be the same in your memory once you have turned them into a memoir. For years I have worried that if I turn all of my life into literature, I won't have any real life left - just stories about it. And it is a realistic concern: it does happen like that. I am no longer sure I remember how it felt to be twenty and living in Spain after my parents died; my book about it stands now between me and my memories. When I try to think about that time, what comes to mind most readily is what I wrote. ↗
I caution against communication because once language exist only to convey information, it is dying. In news articles the relation of the words to the subject is a strong one. The relation of the words to the writer is weak. (Since the majority of your reading has been newspapers, you are used to seeing language function this way). When you write a poem these relations must reverse themselves: The relation of the word to the subject must weaken – the relation of the words to the writer (you) must take on strength. This is probably the hardest thing about writing poems In a poem you make something up, say for example a town, but an imagined town is at least as real as an actual town. If it isn’t you may be in the wrong business. Our triggering subjects, like our words, come from obsessions we must submit to, whatever the social cost. It can be hard. It can be worse 40 years from now if you feel you could have done it and didn’t. RICHARD HUGO Public versus private poets: With public poets the intellectual and emotional contents of the words are the same for the reader as for the writer. With the private poet, the words, at least certain key words, mean something to the poet they don’t mean to the reader. A sensitive reader perceives this relation of poet to word and in a way that relation – the strange way the poet emotionally possesses his vocabulary – is one of the mysteries and preservative forces of the art. If you are a private poet, then your vocabulary is limited by your obsessions. In fact, most poets write the same poem over and over. (Wallace Stevens was honest enough not to try to hide it. Frost’s statement that he tried to make every poem as different as possible from the last one is a way of saying that he knew it couldn’t be). ↗
For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way. Source ↗
Art gives its vision to beauty not always recognized. And it surrenders freely -- whatever power it possesses to every sincere soul that seeks it. But above all else--it presents us with the gift of ourselves. ↗
I made a record called Island in the Sun about the planet Earth and invited David over to hear it at the house I had rented in Hawaii. We was not impressed with it and asked me to do something else. That was the first time that had ever happened to me. It was a good record, and I liked it. To accommodate David, I thought I would do a record that was a combination of that one and one that I was already hearing in my head to follow up. The second one, Trans , was inspired by my son Ben and his communication challenges. Because of Ben's quadriplegia, he couldn't talk or communicate in a way that most people could understand, so I made a record where I sang through a machine and most people couldn't understand what I was saying, either. I felt like it was art, an expression of something deeply personal. I called it Trans, meaning trying to get across from one world to another, being locked in a body without an intelligible voice, trying to communicate through the use of machines, computers, switches and other devices. It was a very deep and inaccessible concept ↗
At one time I thought the most important thing was talent. I think now that — the young man or the young woman must possess or teach himself, train himself, in infinite patience, which is to try and to try and to try until it comes right. He must train himself in ruthless intolerance. That is, to throw away anything that is false no matter how much he might love that page or that paragraph. The most important thing is insight, that is ... curiosity to wonder, to mull, and to muse why it is that man does what he does. And if you have that, then I don't think the talent makes much difference, whether you've got that or not. [Press conference, University of Virginia, May 20, 1957] ↗
#craft #craftsmanship #creative-writing #learning-by-doing #talent
I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process. ↗
