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
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.
Interpretation
Mary Oliver expresses her belief that confessional poetry may not resonate with readers due to its personal nature.
In this quote, Mary Oliver reflects on her formative years in literature, specifically addressing the trend of confessional poetry that focuses on personal experiences. She suggests that such an approach may not serve the reader effectively, implying that literature should strive for broader, more universal themes rather than overly intimate perspectives that might alienate the audience.
In practice
In a speech about the role of personal experiences in writing, you might quote Mary Oliver to emphasize a broader connection with audiences.
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.
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.
The god of dirt came up to me many times and said so many wise and delectable things, I lay on the grass listening to his dog voice, frog voice; now, he said, and now, and never once mentioned forever from, One or Two Things
I remember going into a bookshop, and the only book I saw with a black child on the cover was 'A Thief in the Village' by James Berry, and I thought, 'Is this still the state of publishing?' Then I thought, 'Either I can whine about it or try to do something about it.'
Most American writers don't get asked their opinion on current affairs, whereas in Europe and England, we still do. There are writers here who are the most sophisticated commentators, but they're not asked. Like Don DeLillo, who sort of forecast most of the modern world before it happened.
Every word a woman writes changes the story of the world, revises the official version.
I think often people don't realize the great diversity of Southern writing because in their minds, if you're not from the South, it can seem regional and small, and of course that's not the case at all when you start to read the work.
Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
Among contemporaries, I hugely admire Alice Munro, our Chekhov, Saul Bellow, Philip Roth, and John Updike, American masters all. I also believe that the voice of Gordon Lish is astoundingly original and sorrowful.
Subscribe for the occasional hand-picked quote. No noise.