I try to be good but sometimes a person just has to break out and act like the wild and springy thing one used to be. It's impossible not to remember wild an want it back.
Mary OliverRead
The poet must not only write the poem but must scrutinize the world intensely, or anyway that part of the world he or she has taken for subject. If the poem is thin, it is likely so not because the poet does not know enough words, but because he or she has not stood long enough among the flowers--has not seen them in any fresh, exciting, and valid way.
Interpretation
A poet needs to deeply observe the world to write meaningful poetry.
Mary Oliver emphasizes that the quality of a poem is not solely dependent on the poet's vocabulary but rather on their ability to observe and connect with the world around them. This deep scrutiny allows the poet to capture fresh and vivid perspectives, making the poem richer and more impactful.
In practice
In a poetry workshop, to highlight the importance of observation, one might quote this to inspire deeper engagement with their surroundings.
I try to be good but sometimes a person just has to break out and act like the wild and springy thing one used to be. It's impossible not to remember wild an want it back.
At the time I was growing up, literature was involved with the so-called confessional poets. And I was not interested in that. I did not think that specific and personal perspective functioned well for the reader at all.
I know the sag of the unfinished poem. And I know the release of the poem that is finished.
For poems are not words, after all, but fires for the cold, ropes let down to the lost, something as necessary as bread in the pockets of the hungry.
If I have any lasting worth, it will be because I have tried to make people remember what the Earth is meant to look like.
Every day I see or hear something that more or less kills me with delight, that leaves me like a needle in the haystack of light.
I have never thought of writing for reputation and honor. What I have in my heart must come out; that is the reason why I compose.
What I've learned over the years is that the craft of songwriting is trying to take the personal and make it universal - or in the case of telling a story, taking the universal and making it personal.
[on BBC's Sherlock] It's a rare challenge, both for the audience and an actor, to take part in something with this level of intelligence and wit. You have to really enjoy it. It's a form of mental and physical gymnastics.
Few occupations pass the solitary hours more fruitfully than the playing of a musical instrument.
Van Gogh never made a penny in his entire lifetime. He painted because it was his soul, his excitement. It was what aligned him with his Source of being. It's the same with me and writing.
I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.
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