. . . money . . . is really the difference between men and animals, most of the things men feel, animals feel, and vice versa, but animals do not know about money.
Gertrude SteinRead
Any time is the time to make a poem.
Interpretation
This quote emphasizes that creativity can be pursued at any moment, not just during specific circumstances.
Gertrude Stein's quote, 'Any time is the time to make a poem,' suggests that the act of creation is not bound by special occasions or moods. It encourages individuals to embrace their creative impulses and express themselves whenever inspiration strikes, highlighting the idea that artistic expression is always accessible and can be cultivated in everyday life.
In practice
A teacher encouraging students to write poetry during a creative writing workshop.
. . . money . . . is really the difference between men and animals, most of the things men feel, animals feel, and vice versa, but animals do not know about money.
The creator of the new composition in the arts is an outlaw until he is a classic.
If the communication is perfect, the words have life, and that is all there is to good writing, putting down on the paper words which dance and weep and make love and fight and kiss and perform miracles.
The United States is just now the oldest country in the world, there always is an oldest country and she is it, it is she who is the mother of the twentieth century civilization. She began to feel herself as it just after the Civil War. And so it is a country the right age to have been born in and the wrong age to live in.
I simply contend that the middle-class ideal which demands that people be affectionate, respectable, honest and content, that they avoid excitements and cultivate serenity is the ideal that appeals to me, it is in short the ideal of affectionate family life, of honorable business methods.
It is natural to indulge in the illusions of hope. We are apt to shut our eyes to that siren until she allures us to our death.
Without music, life would be a mistake.
If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void.
Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
That's what's great about the horror genre is that you're getting a load of people together in the cinema at the same place and the same time, having them all experience extreme fear and come out alive at the end. It's an uplifting experience, and there's a sense of elation.
When asked how she knows when her writing is where she wants it to be: "I know when it's the best I can do. It may not be the best there is. Another writer may do it much better. But I know when it's the best I can do. I know that one of the great arts that the writer develops is the art of saying, 'No. No, I'm finished. Bye.' And leaving it alone. I will not write it into the ground. I will not write the life out of it. I won't do that."
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
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