The importance of poetry is not measured, finally, by what the poet says but by how he says it.
Mahmoud DarwishRead
History is my passion. So I write what I love to read. I find that if I combine history with a strong, sensual romance, it is like a one-two punch. The reader doesn't want the history without the romance, and of course the heavier the history, the more it has to be leavened with a sensual, all-consuming love story.
Interpretation
The quote expresses the author's belief that intertwining history with romance creates a compelling narrative that attracts readers.
Virginia Henley conveys her passion for writing by combining her love for history with the allure of romance. She suggests that a narrative rich in historical detail becomes more engaging when paired with a captivating love story, making it more appealing to readers. Essentially, she highlights the synergy between these two genres, where the emotional depth of romance enriches the factual weight of history, creating a more satisfying reading experience.
In practice
Using this quote during a literary workshop to discuss the blending of genres.
The importance of poetry is not measured, finally, by what the poet says but by how he says it.
This is the time for every artist in every genre to do what he or she does loudly and consistently. It doesn't matter to me what your position is. You've got to keep asserting the complexity and the originality of life, and the multiplicity of it, and the facets of it. This is about being a complex human being in the world, not about finding a villain. This is no time for anything else than the best that you've got.
So, then, the best of the historian is subject to the poet; for whatsoever action or faction, whatsoever counsel, policy, or war-stratagem the historian is bound to recite, that may the poet, if he list, with his imitation make his own, beautifying it both for further teaching and more delighting, as it pleaseth him; having all, from Dante’s Heaven to his Hell, under the authority of his pen.
I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.
The reality of a poem is a very ghostly one. It suggests, it suggests, it suggests again.
I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.
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