Death is the sound of distant thunder at a picnic.
W. H. AudenRead
But if a stranger in the train asks me my occupation, I never answer "writer" for fear that he may go on to ask me what I write, and to answer "poetry" would embarrass us both, for we both know that nobody can earn a living simply by writing poetry.
Interpretation
The quote reflects the challenges and perceptions faced by poets in society.
W. H. Auden's quote expresses the struggle of identifying oneself as a poet, particularly in a society that often does not value poetry as a viable profession. He conveys an awareness of the stigma attached to the genre and the discomfort that arises when discussing such a passionate yet impractical pursuit in casual conversation, highlighting the gap between artistic aspiration and societal expectations.
In practice
This quote could be used in a discussion on the value of art versus commercial success.
Death is the sound of distant thunder at a picnic.
That the speech of self-disclosure should be translatable seems to me very odd, but I am convinced that it is. The conclusion that I draw is that the only quality which all human being without exception possess is uniqueness: any characteristic, on the other hand, which one individual can be recognized as having in common with another, like red hair or the English language, implies the existence of other individual qualities which this classification excludes.
Nobody knows what the cause is, though some pretend they do; it like some hidden assassin waiting to strike at you. Childless women get it, and men when they retire; it as if there had to be some outlet for their foiled creative fire.
History is, strictly speaking, the study of questions; the study of answers belongs to anthropology and sociology.
Music is the best means we have of digesting time.
'Healing,' Papa would tell me, 'is not a science, but the intuitive art of wooing nature.'
The distinction between a gallery and a museum is enormous. The gallery is about looking at a thing of beauty; the purpose of the activity is an aesthetic response. The museum is actually about the object that lets you get into somebody else's life.
You can watch someone on-stage cry and cry - but in the audience you feel nothing. It's easy to become indulgent. For me, what's important is the story first.
A woman drew her long black hair out tight, And fiddled whisper music on those strings, And bats with baby faces in the violet light Whistled, and beat their wings, And crawled head downward down a blackened wall.
People love talking about writers as storytellers, but I hate being called that: it suggests I got it from my grandmother or something, when my writing really comes out of silence. If a storyteller came up to me, I'd run away.
I think, with age, you learn that it comes in bursts and you've got no control over it. I'm not one of those people who says, 'I've got to write a song every day.' I just store up ideas, and really I have to wait until it finds me; I know when I'm ready to write. It used to frustrate me, but it doesn't any more. It's just how it is.
When you're a performer, of course you want an audience, but it's very, very different from courting fame.
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