I dream of lost vocabularies that might express some of what we no longer can.
Jack GilbertRead
I like ornament at the right time, but I don't want a poem to be made out of decoration ... When I read the poems that matter to me, it stuns me how much the presence of the heart-in all its forms-is endlessly available there. To experience ourselves in an important way just knocks me out. It puzzles me why people have given that up for cleverness. Some of them are ingenious, more ingenious than I am, but so many of them aren't any good at being alive.
Interpretation
The quote emphasizes valuing authentic expression over superficial cleverness in poetry and life.
Jack Gilbert's quote critiques the tendency to prioritize cleverness and ornamentation in poetry, suggesting that true artistic value lies in the sincere expression of human experience and emotion. He discusses how genuine presence and feeling in poetry can profoundly affect the reader, highlighting his confusion about why some choose superficial ingenuity over the deeper aspects of being alive.
In practice
In a literary discussion about poetry, this quote can be used to express the importance of emotional depth over mere cleverness.
I dream of lost vocabularies that might express some of what we no longer can.
Being alive is so extraordinary I don’t know why people limit it to riches, pride, security—all of those things life is built on. People miss so much because they want money and comfort and pride, a house and a job to pay for the house. And they have to get a car. You can’t see anything from a car. It’s moving too fast. People take vacations. That’s their reward—the vacation. Why not the life?
But anything worth doing is worth doing badly. Like being there by that summer ocean on the other side of the island while love was fading out of her, the stars burning so extravagantly those nights that anyone could tell you they would never last.
Are the angels of her bed the angels who come near me alone in mine? Are the green trees in her window the color is see in ripe plums? If she always sees backward and upside down without knowing it what chance do we have? I am haunted by the feeling that she is saying melting lords of death, avalanches, rivers and moments of passing through, And I am replying, "Yes, yes. Shoes and pudding.
We must have the stubbornness to accept our gladness in the ruthless furnace of this world.
WAKING AT NIGHT The blue river is grey at morning and evening. There is twilight at dawn and dusk. I lie in the dark wondering if this quiet in me now is a beginning or an end.
The sadness of the incomplete, the sadness that is often Life, but should never be Art.
When Coleridge tried to define beauty, he returned always to one deep thought; beauty, he said, is unity in variety! Science is nothing else than the search to discover unity in the wild variety of nature,-or, more exactly, in the variety of our experience. Poetry, painting, the arts are the same search, in Coleridge's phrase, for unity in variety.
For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing.
Painting should never look as if it were done with difficulty, however difficult it may actually have been.
For me, the 'Three Stoppages' was a first gesture liberating me from the past.
I've always loved the idea that you think you know what you're looking at from a distance, yet when you come up close, it gets intricate and nutty and obscene and provocative.
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