“To see, one should liberate oneself from the immediate. Looking beyond opens the world to where beauty has become one with truth. The harmony of the invisible is always more beautiful than the one of the visible.”—Hugues De Montalembert, Invisible (via distantheartbeats)
exactly! Thank you for posting this...
“NO ONE IS A POET UNLESS HE HAS FELT THE TEMPTATION TO DESTROY LANGUAGE OR CREATE ANOTHER ONE, UNLESS HE HAS EXPERIENCED THE FASCINATION OF NONMEANING AND THE NO LESS TERRIFYING FASCINATION OF MEANING THAT IS INEXPRESSIBLE”
you’re welcome. i wish it wasn’t all caps, but otherwise i’m behind it.
“poetry: I will be content in this book to accept a social, cultural definition of poetry: poetry is what a bookstore puts in that section of that name.”—Robert Pinksy, the Sounds of Poetry, A Brief Guide
“NO ONE IS A POET UNLESS HE HAS FELT THE TEMPTATION TO DESTROY LANGUAGE OR CREATE ANOTHER ONE, UNLESS HE HAS EXPERIENCED THE FASCINATION OF NONMEANING AND THE NO LESS TERRIFYING FASCINATION OF MEANING THAT IS INEXPRESSIBLE”—Octavio Paz
“And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects “unfamiliar”, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.”—
“Sound is sense, a truer sense, undercutting surface commerce and ideology. When we rely too much on the surface meanings of the words we are in danger, for the surfaces are always full of commerce; the meanings and neurological thought processes they evoke and provoke are those of our social and economic culture, and convey these values, perpetuating them, using our words as their icons. But sounds are not surface; they endure in the brain longest of all sensory information. Psychologists have shown that in a train or plain crash what is etched most deeply is the sound.”—
Erín Moure, My Beloved Wager, Essays from a Writing Practice (NeWest Press, 2009)
“Poetry is excited language. No matter what message they carry (whether happy or sad, tranquil or nervous), the words in a poem are energized, and when we read or hear that excited language, our brains pick up the excitement, and for a while afterwards we experience the world more intensely and are more aware of what it means to be alive.”—
John Steffler, Canada’s former Parliamentary Poet Laureate
from the Brick Books and Poet Laureate Brochure, November 6, 2007
“I hate slick and pretty things. I prefer mistakes and accidents. Which is why I like things like cuts and bruises – they’re like little flowers. I’ve always said that if you have a name for something, like ‘cut’ or ‘bruise,’ people will automatically be disturbed by it. But when you see the same thing in nature, and you don’t know what it is, it can be very beautiful.”—David Lynch (via cactopodes)
TO: My ungrateful students
RE: An inspirational letter
To be the writers you hope to be, you must surrender yourselves to a kind of absurdity. You must function as a displaced person in an age that contradicts all that is brave, gentle, and worthwhile in you. Every great writer has done this, in every age. You must be of every age.