I don't feel I've arrived home until I get on the beach. All my life, the theater of the sea has been a very strong thing.
Derek WalcottRead
I'd rather have just one person who reads and feels my work deeply than hundreds of thousands who read it but don't really care about.
Interpretation
The value of deep appreciation is greater than popularity without connection.
Derek Walcott emphasizes the importance of meaningful engagement over superficial popularity. He expresses a preference for having a smaller audience that truly resonates with his work, rather than a large number of indifferent readers. This sentiment highlights the significance of authentic connection in art and expression, suggesting that true fulfillment comes from the depth of understanding in relationships with one's audience.
In practice
During a literary event, an author might use this quote to express their views on the importance of integrity in writing.
I don't feel I've arrived home until I get on the beach. All my life, the theater of the sea has been a very strong thing.
Creating a poem is a continual process of re-creating your ignorance, in the sense of not knowing what's coming next.
A long time ago, I thought, as a writer in the Caribbean, 'I don't ever want to have to write 'It was great in Paris.'' Because I don't think, proportionately speaking, that one's experience in a city as opposed to, say, a village in St. Lucia, is superior to the other.
My mother was a schoolteacher and very, very encouraging. She understood what it meant when I said I wanted to be a writer; both me and my brother wrote.
When I went to college - when I read Shakespeare or Dickens or Scott - I just felt that, as a citizen of England, a British citizen, this was as much my heritage as any schoolboy's. That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.
The truest writers are those who see language not as a linguistic process but as a living element.
What is called music today is all too often only a disguise for the monologue of power. However, and this is the supreme irony of it all, never before have musicians tried so hard to communicate with their audience, and never before has that communication been so deceiving. Music now seems hardly more than a somewhat clumsy excuse for the self-glorification of musicians and the growth of a new industrial sector.
When I provided the disembodied arm as the logo for 'The Man With the Golden Arm,' it was the first time an advertising-publicity campaign was based on a single symbol. Until then film companies used a variety of symbols and photographs to cover all bets. The concept of using one logo was mine and Otto Preminger's.
An artist is a dreamer consenting to dream of the actual world.
Angel and Muse approach from without; the Angel sheds light and the Muse gives form (Hesiod learned of them). Gold leaf or chiton-folds: the poet finds his models in his laurel coppice. But the Duende, on the other hand, must come to life in the nethermost recesses of the blood.
I hope people will say, 'Mr. Valentino, he did something for fashion, no?'
I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.
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