It's absolutely crucial to maintain my life as a poet.
Edward HirschRead
I found a comfort in trying to solve some poetic problems because there were human ones I just couldn't solve.
Interpretation
The quote reflects the solace found in artistic expression amidst unresolved personal issues.
Edward Hirsch articulates the idea that engaging with poetic challenges provides a sense of comfort and clarity during times when one may feel overwhelmed by complicated human experiences. This juxtaposition highlights how art can serve as both a sanctuary and a means of understanding deeper emotional struggles.
In practice
In a lecture about the healing power of art, one might quote Hirsch to illustrate the personal connection between artists and their work.
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 feel like in telling stories, there are the things the audience thinks are important, and then there are the things that are actually important.
I'm not a pyrotechnical director; I'm not good with all those innovative things. What I am interested in is how actors can touch the heads and hearts of an audience.
The novel I am constantly writing is always the same one, and it might be described as a variously sliced-up or torn-apart book of myself.
The best books come from someplace inside. You don't write because you want to, but because you have to.
A writer needs a pen, an artist needs a brush, but a filmmaker needs an army.
No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.
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