Quotes of All Topics . Occasions . Authors
I wasn't a happy kid. I felt like my mum ruined our chance of a better life, because when she remarried, we went to live in Bahrain, on a compound with a swimming pool, and she ruined it all.
William Shakespeare tried hard to see every facet of every question, probably because he was more interested in questions than in answers. That's a big part of what makes him great, in my opinion.
I have a fan who suffered with leukemia, and apparently, the only thing that helped him through that was my music, so of course that's the ultimate sense of achievement. It's an incredible feeling.
Years ago I used to set my alarm for 4 am, so that I could wake up in the middle of a dream and move directly into writing. I guess my favorite poems contain a mixture of intuitive and analytical thought.
I was asked, 'Why do you think the male 'X Factor' winners haven't been successful in the past?' And I said, 'Because obviously the body of work that they've brought out wasn't good enough,' and that was it.
There's no doubt in my mind or anyone else's mind that people like Ed Sheeran, Ellie Goulding, and Sam Smith are where they are because they're supremely talented people, and I have a lot of respect for them.
I don't think I'd ever get any better as a poet if I didn't push myself, very deliberately, to grow. My best poems surprise me, as they should, but I fight them at every turn, possibly just because I'm stubborn.
I like poems that immediately claim my attention, instead of taking my attention for granted. At first read, I want to feel compelled to pick up the poem again; I want to be curious about its byways and secret corners.
I've always maintained a good relationship with Simon Cowell, and obviously I have a great respect for him, and his show provided me with a platform to reach a lot of people, so I have the upmost respect for Simon Cowell.
I've done a few face palms after things I've said because it's stupid. But if I'm not like that, I won't feel human anymore. I'll just feel like some robot saying what I'm supposed to say. I think that's when people lose it.
Everyone loves a comeback story, and everyone loves the underdog as well. I kind of feel like I've been the underdog. Hopefully that inspires people to not give up on themselves and their lives and not give up on their dreams.
I really want to work with Eminem. I know it will never happen, but I would love if he let me do a hook on one of his songs or he featured on one of my songs. It would be incredible. I've just always admired him since I was young.
When you find fame, or you get signed to a record label, it's not what you imagined - because you imagined they would have 100 percent trust or faith in you as an artist. Unfortunately, that's not really the case - it's what sells.
I'm not saying none of these guys are talented, but people think Ed Sheeran crawled off a couch and lived on the street or something, but him, Ellie Goulding... they all come from Suffolk, Surrey, Richmond... they come from support.
I do consider myself Canadian, but I feel American, too. I've spent more than fifteen years in each of the two countries, so really I just think of myself as a dual citizen, which is what I am. Thankfully, I've never been forced to choose!
I don't think I did write any poems to fill narrative gaps. Not consciously, anyway. As much as possible, I try to discover my poems' subject matter through the act of writing, instead of deciding ahead of time what my poems will be about.
I try not to think in terms of what poems or poets should do. Most of us appreciate a wide diversity in music, in cooking, in movies, but in our own medium, poetry, we often fail to make allowances for tastes and projects other than our own.
People had told me to try 'The X Factor' for years, but I thought I'd be moody and hate it all. But it's what I needed. I asked Mum and Dad to come to my 'X Factor' audition, and it was the first time that they'd been in the same room in years.
Our analytical faculties allow us to look critically at our writing and interpret it. Sometimes we make bold, impulsive edits to our poems, but most forms of precision and economy in poetry, it seems to me, are signatures of the analytical mind.
There are many things people don't know about me, and maybe when they read about those things, they will have an understanding of the journey I have been on, why I've made the mistakes I have, and hopefully help other people overcome their adversities.
If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard.
I don't think I made it clear where I was mentally when I appeared on 'X Factor.' There was so much pressure and a lot of judging. But I wanted to take a chance on the show because I wanted to make something of myself. 'X Factor' seemed like the only way out.
It's not realistic to imagine that any poem will last forever. Our species won't last forever! We try to capture and preserve our impressions of reality because it's all going away: everything we think and remember, everything we've ever felt, everyone we love.
When you recite you're giving a performance, in the way that an actor or a singer performs, and some poets are not interested in doing that, maybe because they're writing for a readership as opposed to an audience, or because they see poetry as a very private art.
My dad, a mathematician, raised me to believe that mathematics is beautiful, so math is a part of my imaginative terrain. In my late 20s I wrote several 11-line poems because I wanted to create poems that couldn't be uniformly divided into couplets, tercets, or quatrains, 11 being a prime number.
I want each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.
Anxiety is a really crippling condition, and I suffer with it myself, and I feel for anyone who suffers from it. The way that I deal with it is try as much as possible to stay in the moment to not think about the past and not think about what's coming up in the future: to try and just seize the moment as much as possible.
I can't read my poem "Distracted by an Ergonomic Bicycle" without thinking of Seattle, where the events of the poem took place, and I can't read "In Defense of the Semicolon" without thinking of Toronto - but why should that matter to anyone else? If another reader imagines "In Defense of the Semicolon" taking place in New Orleans, great.
There is a lot of pressure on pop stars, and I think a lot of it is the pressure that we put on ourselves. In our minds, we build up these huge, huge standards that we think people want from us, and actually, when you break it down, people just want you to make music and perform to the best of your ability, but anxiety can stop you from doing that.
It is hard to compare cultures without overgeneralizing, but I think a lot of American poetry has an assertiveness - an upbeat quality - that's less typical of Canadian poetry. Of course there are poets in both countries to whom that generalization does not apply. Speaking broadly, I'd describe Canadians as being a bit more reserved than Americans. Not less opinionated - just less direct.
Start listening to what you say. Are your comments and ideas negative? You aren't going become positive if you always say negative things. Do you hear yourself say"I could never do that","I never have any luck","I never get things right". Wow - that's negative self-talk! Try saying"I am going to do that","I am so lucky""I always try to get things right". Can you hear how much better that sounds?
And treating poetry as a performing art emphasizes its ephemerality. A printed poem can be endlessly reprinted, photocopied, scanned, uploaded, cut and pasted - but a performance, even if somebody's there with a video camera, is one time only: the audience experiences something that won't exist when the performance is over, and which won't ever be reproduced in exactly the same form. I find that appealing.
I believe strongly in what John Keats called negative capability: the trait or practice that allows a poet to remain in uncertainties, mysteries, doubts, without any irritable reaching after fact & reason. For Keats, William Shakespeare exemplified negative capability, and I do think it's extraordinary that for all the thousands of pages Shakespeare left behind, we really don't know much about Shakespeare's own personality or opinions.
I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.
It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.
I do like Canadian poetry. Christian Bök, Anne Carson, Carmine Starnino, and Don McKay are a few of the Canadian poets whose work has been important to me. But I'm not sure that I do see poetry as a world apart. Some of my metaphors are based in the fantastic, but I try to be true to life as I understand it. That understanding is affected by my Canadianness, my Americanness, my whiteness, my gender, my age, my education, my experience...everything about me affects my view of reality. But I try to wrestle against those partialities, not embrace them.