And the wild things roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws.
Maurice SendakRead
I'm totally crazy, I know that. I don't say that to be a smartass, but I know that that's the very essence of what makes my work good. And I know my work is good. Not everybody likes it, that's fine. I don't do it for everybody. Or anybody. I do it because I can't not do it.
Interpretation
Embracing one's individuality and passion can lead to authentic and valuable work.
Maurice Sendak expresses the idea that his uniqueness and eccentricity are essential to his creative process. He emphasizes that he creates art for the sake of the art itself, rather than for the approval of others, highlighting the importance of passion and authenticity in artistic expression.
In practice
In a speech about embracing creativity, one might quote Sendak to inspire artists to follow their own vision.
And the wild things roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws.
From their earliest years children live on familiar terms with disrupting emotions, fear and anxiety are an intrinsic part of their everyday lives, they continually cope with frustrations as best they can. And it is through fantasy that children achieve catharsis. It is the best means they have for taming Wild Things.
That always seemed to be the most critical test that a child was confronted with - loss of parents, loss of direction, loss of love. Can you live without a mother and a father?
One of the few graces of getting old - and God knows there are few graces - is that if you've worked hard and kept your nose to the grindstone, something happens: The body gets old but the creative mechanism is refreshed, smoothed and oiled and honed. That is the grace. That is what's happening to me.
To get a child's trust - you may know or not - is a very hard thing to do. They're so used to not believing adults - because adults tell tales and lies all the time.
I have a little tiny Emily Dickinson so big that I carry in my pocket everywhere. And you just read three poems of Emily. She is so brave. She is so strong. She is such a sexy, passionate, little woman. I feel better.
I learned a little of beauty - enough to know that it had nothing to do with truth.
All art is a kind of confession, more or less oblique. All artists, if they are to survive, are forced, at last, to tell the whole story, to vomit the anguish up.
I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms, so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it.
Training readers to expect a voice or subject matter from me would interfere with the reinvention I crave. At the same time, I feel almost too able to disappear at times.
There are only four great arts: music, painting, sculpture, and ornamental pastry- architecture being perhaps the least banal derivative of the latter.
I'm not interested in seeing dance die. It's not to my advantage. Nor is it to our culture's advantage or anybody else's.
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