The death penalty not only takes away the life of the person strapped to the table - it takes away a little bit of the humanity in each of us.
Clint SmithRead
One does not read a poem by Gwendolyn Brooks with hopes that it will grant him a career in engineering; he does so because poetry helps him see something in the world that he might not have seen before.
Interpretation
Poetry enriches our understanding of the world beyond practicality or career goals.
This quote emphasizes that engaging with poetry is not about achieving tangible career benefits, but rather about expanding one's perspective and enhancing one's perception of the world. It highlights the intrinsic value of art in revealing deeper insights and emotions that might otherwise go unnoticed in our everyday lives.
In practice
In a discussion about the value of literature in education, one might say, 'As Clint Smith points out, poetry provides insights beyond traditional career paths.'
The death penalty not only takes away the life of the person strapped to the table - it takes away a little bit of the humanity in each of us.
In an effort to create a culture within my classroom where students feel safe sharing the intimacies of their own silences, I have four core principles posted on the board that sits in the front of my class, which every student signs at the beginning of the year: read critically, write consciously, speak clearly, tell your truth.
History has proven that art depicting black people cannot be disentangled from the political implications that such art has on their lives. As Africans were being stripped from the continent and sailed across the Atlantic to the Western world, depictions of black people in Western art changed in order to further render them racialized caricatures.
Photography, sculpture, and painting were wielded as cultural weapons over the course of generations to substantiate the idea that black people were inherently subordinate beings; they were used to make slavery acceptable and to make black subjugation more palatable.
In my hometown of New Orleans, grief is a public spectacle that, somewhat paradoxically, necessitates celebration. The dead are not mourned so much as they are posthumously venerated with music and dance.
My parents raised me and my siblings in an armor of advice, an ocean of alarm bells so someone wouldn't steal the breath from our lungs, so that they wouldn't make a memory of this skin.
For the source of the short story is usually lyrical. And all writers speak from, and speak to, emotions eternally the same in all of us: love, pity, terror do not show favorites or leave any of us out.
Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.
Art resides in the quality of doing, process is not magic.
What I wrote all the time when I was a kid - I don't want to call it 'poetry,' because it wasn't poetry. I was not that kind of a writer. I was a rhymer. I was a fan of Dorothy Parker's, so maybe I wrote poetry to that extent, but my main focus was the humor of it, and word construction, and the slant. Your words, it's a very powerful experience.
It's a magical thing, the guitar. It allows you to be the whole band in one, to play rhythm and melody, sing over the top. And as an instrument for solos, you can bend notes, draw emotional content out of tiny movements, vibratos and tonal things which even a piano can't do.
She had caprices of a marvellous unexpectedness, and how is any one to imitate a caprice?
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