It is difficult to write a paradiso when all the superficial indications are that you ought to write an apocalypse.
Ezra PoundRead
Great literature is simply language charged with meaning to the utmost possible degree.
Interpretation
Great literature conveys deep meaning through its language.
Ezra Pound's quote emphasizes that the essence of great literature lies in its ability to imbue language with intense and profound meanings. He suggests that the true power of literary works is found in how effectively they convey emotions, themes, and ideas, making the reader engage with the text at a deeper level.
In practice
In a discussion about the importance of reading, one could quote Pound to illustrate how literature transcends everyday language.
It is difficult to write a paradiso when all the superficial indications are that you ought to write an apocalypse.
The ant's a centaur in his dragon world. Pull down thy vanity, it is not man Made courage, or made order, or made grace, Pull down thy vanity, I say pull down. Learn of the green world what can be thy place In scaled invention or true artistry, Pull down thy vanity, Paquin pull down! The green casque has outdone your elegance.
I desired my dust to be mingled with yours Forever and forever and forever.
Literature does not exist in a vacuum. Writers as such have a definite social function exactly proportional to their ability as writers. This is their main use.
In our time, the curse is monetary illiteracy, just as inability to read plain print was the curse of earlier centuries.
The modern artist must live by craft and violence. His gods are violent gods. Those artists, so called, whose work does not show this strife, are uninteresting.
After all, the goal is not making art. It is living a life. Those who live their lives will leave the stuff that is really art.
Theatre is liberating because it only works if it's truthful, That's what it requires. That's not true of film: the camera does lie.
Only truthful hands write true poems. I cannot see any basic difference between a handshake and a poem.
The lighter the skin, the more acceptable you are. The darker the skin, the more marginalised you become. I want to demonstrate that you can produce beauty in the context of a figure that has that kind of velvety blackness. It can be done.
In improvisation, there are no mistakes.
One wants one's work to be the world, but of course it's never the world. The work is in the world; it never contains the whole thing.
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