But poets were not considered dangerous and they were advised to exercise self-censorship. At most, poets were requested not to write at all. I took advantage of this negative liberty.
Eugenio MontaleRead
The poet does not know - often he will never know - whom he really writes for.
Interpretation
The poet often writes without knowing their true audience or purpose.
Eugenio Montale's quote emphasizes the mysterious and often unconscious nature of artistic creation. Poets and artists may produce works driven by inspiration, emotion, or experience, yet they may be unaware of the specific audience or deeper meanings behind their creations. This speaks to the essence of art as a personal expression that transcends immediate comprehension, resonating with individuals in diverse and unforeseen ways.
In practice
During a poetry reading, one could use this quote to discuss the unpredictable nature of audience reception.
But poets were not considered dangerous and they were advised to exercise self-censorship. At most, poets were requested not to write at all. I took advantage of this negative liberty.
There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.
Mass communication, radio, and especially television, have attempted, not without success, to annihilate every possibility of solitude and reflection.
It has often been observed that the repercussion of poetic language on prose language can be considered a decisive cut of a whip.
I have always knocked at the door of that wonderful and terrible enigma which is life.
For my part, if I consider poetry as an object, I maintain that it is born of the necessity of adding a vocal sound (speech) to the hammering of the first tribal music.
When I first heard music, I thought it should be very clean, very precise. Something that people could understand, something that was beautiful.
My mind and fingers have worked like the damned. Homer, the Bible, Plato, Locke, Lamartine, Chateaubriand, Beethoven, Bach, Hummel, Mozart, Weber are all around me. I study them. I devour them with fury.
I just want to see more women in film and behind the camera. I'm tired of seeing movies from one perspective.
I don't like records that are the same from beginning to end, that are too styled and slick. Everything is so designed and airbrushed and Botoxed, it makes us think, 'Oh, everybody's perfect except me. Everything's smooth except me.' But nothing is smooth.
I am not immune to the lure of a signed record, flier or set list. The fact that your music heroes potentially had, in their own hands, the record you now have in yours is kind of cool. When the musician has departed, it can give the thing a unique power.
With my writing, I try to do stuff I have not done before. Each time I sit down, I want to have a new experience, and by extension, I want my readers to have a different experience.
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