. . . We love fog because it shifts old anomalies into the elements surrounding them. It gives relief from a way of seeing
Eavan BolandRead
If a poet does not tell the truth about time, his or her work will not survive it. Past or present, there is a human dimension to time, human voices within it, and human griefs ordained by it.
Interpretation
A poet must authentically convey the truth of human experiences related to time for their work to endure.
In this quote, Eavan Boland emphasizes the importance of truthfulness in poetry, particularly concerning the concept of time. She argues that a poet's work must resonate with the human experiences of time, including the joys and sorrows that come with it; otherwise, that work will fade into obscurity, lacking the essential connection to the human condition that allows it to endure over time.
In practice
In a literary discussion about the relevance of poetry in expressing human experiences over time.
. . . We love fog because it shifts old anomalies into the elements surrounding them. It gives relief from a way of seeing
Poetry begins where language starts: in the shadows and accidents of one person’s life.
When I was young, I struggled with authorship: with everything the word meant and failed to mean. Irish poetry was heavy with custom. Sometimes at night, when I tried to write, a ghost hand seemed to hold mine. Where could my life, my language fit in?
There is nothing settled about a poet's identity. The becoming doesn't stop because the being has been achieved. They proceed together, attached in ways that are hard to be exact about.
Our present will become the past of other men and women. We depend on them to remember it with the complexity with which it was suffered. As others, once, depended on us.
As far as I was concerned, it was the absence of women in the poetic tradition which allowed women in the poems to be simplified. The voice of a woman poet would, I was sure, have precluded such distortion. It did not exist.
People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.
I will tell you what Jeanne was like. She was like a piano in a country where everyone has had their hands cut off.
Asymmetric balance creates greater reader interest. Pleasure derived from observing asymmetrical arrangements lies partly in overcoming resistances, which, consciously or not, the spectator adjusts in his own mind.
When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that. So the director's task is just that – to direct, to point the way. Then the actor takes over. And he must be allowed the space, the freedom to express himself in the role. Without that space, an actor is no more than an unthinking robot with a chest-full of push-buttons.
When you know what an actor has, you can reach in and arouse it. If you don't know what he has, you don't know what the hell is going on.
He capers, he dances, he has eyes of youth, he writes verses, he speaks holiday, he smells April and May.
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