What inspires a poem for me is usually a moment.
Interpretation
A poem is often born from a single moment of inspiration.
Sherman Alexie suggests that the essence of poetry is often captured in brief, significant moments that ignite creativity. These moments serve as catalysts, inspiring poets to express their thoughts and emotions through written art, illustrating how even fleeting experiences can lead to profound artistic expressions.
In practice
During a poetry reading, one might share this quote to emphasize the importance of small moments in artistic creation.
Gordie, the white boy genius, gave me this book by a Russian dude named Tolstoy, who wrote, 'Happy families are all alike; every unhappy family is unhappy in its own way.' Well, I hate to argue with a Russian genius, but Tolstoy didn't know Indians, and he didn't know that all Indian families are unhappy for the same exact reasons: the frikkin' booze.
My wife was the first romantic partner who understood both American and native parts of me - not so much the positive stuff, but the damage.
I draw because words are too unpredictable. I draw because words are too limited. If you speak and write in English, or Spanish, or Chinese, or any other language, then only a certain percentage of human beings will get your meaning. But when you draw a picture everybody can understand it. If I draw a cartoon of a flower, then every man, woman, and child in the world can look at it and say, "That's a flower.
We all have to find our own ways to say good-bye.
I write books for teenagers because I vividly remember what it felt like to be a teen facing everyday and epic dangers. I don't write to protect them. It's far too late for that. I write to give them weapons-in the form of words and ideas-that will help them fight their monsters. I write in blood because I remember what it felt like to bleed.
A lot of people have no idea that right now Y.A. (young adult). is the Garden of Eden of literature.
I want you to see me naked and performing one or two dozen mad acts, which will take me less than half an hour, because if you have seen them with your own eyes, you can safely swear to any others you might wish to add.
I didn't begin my life in 1975 with 'Horses.' I recorded 'Horses' in 1975, but was drawing in Paris in 1969.
Her fine high forehead sloped gently up to where her hair, bordering it like an armorial shield, burst into lovelocks and waves and curlicues of ash blonde and gold. Her eyes were bright, big, clear, wet and shining, the colour of her cheeks was real, breaking close to the surface from the strong young pump of her heart. Her body hovered delicately on the last edge of childhood -- she was almost eighteen, nearly complete, but the dew was still on her.
There's blood, a taste I remember. It tastes of orange popsicles, penny gumballs, red licorice, gnawed hair, dirty ice.
I wear myself out and struggle with the sun. And what a sun here! It would be necessary to paint here with gold and gemstones. It is wonderful.
Architecture is not based on concrete and steel, and the elements of the soil. It's based on wonder.
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