It's absolutely crucial to maintain my life as a poet.
Edward HirschRead
A person who's only suffering can't write a poem. There are choices to be made, and you need to be objective.
Interpretation
Creativity often stems from a balance of experiences, and one must maintain objectivity to create art.
In this quote, Edward Hirsch suggests that true artistic expression requires more than just personal suffering; it requires a critical distance and the ability to make choices that elevate one's work. Poetic creation demands insight gained from various experiences, which includes not just pain but also joy and reflection, allowing the artist to captivate and connect with others through their work.
In practice
In an art workshop, to encourage participants to reflect on their diverse experiences, one might quote Hirsch's words.
It's absolutely crucial to maintain my life as a poet.
The commitment to working at poetry is important because a poet is a maker, and a poem is a made thing. We have to honor our feelings by working to transform them into something meaningful and lasting.
As far as I'm concerned, freedom is the most important thing to creativity. You should feel free to write in whatever way, whatever language, feels comfortable to you.
The idea that a poem was a made thing stayed with me, and I decided then that I wanted to be an artist, not just a diarist. So I put myself through a kind of apprenticeship in writing poetry, and I understood even then that my practice as a poet was deeply related to my reading.
And every year there is a brief, startling moment _x000D_ When we pause in the middle of a long walk home and _x000D_ Suddenly feel something invisible and weightless _x000D_ Touching our shoulders, sweeping down from the air: _x000D_ It is the autumn wind pressing against our bodies; _x000D_ It is the changing light of fall falling on us.
When poetry separates from song, then the words have to carry all the rhythm themselves; they have to do all the work. They can't rely on the singing voice.
I think if you're writing a play, it should be its own end game; you'll never get to do a good one unless you know it's not a blueprint for a film; you're not going to get the action right and the story right.
But then, so far as I know, I am the only performer who ever pledged his assistants to secrecy, honor and allegiance under a notarial oath.
For a long time, I thought when you do a box set, you're giving up; you're saying, 'OK, I don't have anything left.' But now I've listened to some of the old stuff I haven't heard in 20 to 40 years with fresh ears. It's like, 'Oh yeah, I can see where people might want to to hear some of this stuff that didn't make it onto the records.'
At the end of the day, 'Shuffle Along' is about people coming together and making something extraordinary - and history not necessarily being kind to them. It's about the love of necessarily being kind to them. It's about the love of doing, regardless of the consequences.
The great thing about a record is it frees your imagination; it gives your eyes a rest and lets your mind wander. There's the special thing that each record can mean a different thing to every person listening to it.
My goal in life is to give to the world what I was lucky to receive: the ecstasy of divine union through my music and my dance.
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