For I now realize that what overcame me that evening was a sudden awareness of the power of intuition, the supra-logic that cuts out all routine processes of thought and leaps straight from problem to answer.
Robert GravesRead
Faults in English prose derive not so much from lack of knowledge, intelligence or art as from lack of thought, patience or goodwill.
Interpretation
This quote suggests that shortcomings in writing often stem from not thinking deeply or putting in the effort rather than a lack of skill or intelligence.
Robert Graves highlights that the flaws found in English prose are less about a writer's knowledge, intelligence, or artistic ability, and more about their failure to engage thoughtfully, exercise patience, or demonstrate goodwill in their writing process. This underscores the importance of a writer's mindset and their emotional investment in their work, signaling that quality writing requires more than just technical skill.
In practice
In a writing workshop discussing the importance of a mindful writing process.
For I now realize that what overcame me that evening was a sudden awareness of the power of intuition, the supra-logic that cuts out all routine processes of thought and leaps straight from problem to answer.
To recommend a monarchy on account of the prosperity it gives the provinces seems to me like recommending that a man should have liberty to treat his children as slaves, if at the same time he treats his slaves with reasonable consideration.
A banker warned the British poet Robert Graves that one could not grow rich writing poetry. He replied that if there was no money in poetry, there was certainly no poetry in money, and so it was all even.
Poetry began in the matriarchal age, and derives its magic from the moon, not from the sun. No poet can hope to understand the nature of poetry unless he has had a vision of the Naked King crucified to the lopped oak, and watched the dancers, red-eyed from the acrid smoke of the sacrificial fires, stamping out the measure of the dance, their bodies bent uncouthly forward, with a monotonous chant of "Kill! kill! kill!" and "Blood! blood! blood!
No poem is worth anything unless it starts from a poetic trance, out of which you can be wakened by interruption as from a dream. In fact, it is the same thing.
Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.
Not long ago, an English writer telephoned me from London, asking questions. One was "What's your alma mater?" I told him, "Books." You will never catch me with a free fifteen minutes in which I'm not studying something I feel might be able to help the black man.
When I was a boy I was called a nerd all the time — because I didn’t like sports, I loved to read, I liked math and science, I thought school was really cool — and it hurt a lot. Because it’s never ok when a person makes fun of you for something you didn’t choose. You know, we don’t choose to be nerds. We can’t help it that we like these things — and we shouldn’t apologize for liking these things.
I learned that five- and-six-year-old kids have already figured out how to be intolerant.
You have to connect your work to what people are doing. A good way is to construct a bridge between theory and practice - Amartya Sen and I tried this by founding the Human Development and Capabilities Association where practitioners meet theoreticians and their discourse influences practice.
I tell my students that the single most powerful thing that we have in this country - something that literally harbors no dissent and no questioning - is the all-powerful elite narrative.
No one reads; if someone does read, he doesn't understand; if he understands, he immediately forgets.
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