Quotes of All Topics . Occasions . Authors
There is something at work in my soul, which I do not understand.
Shelley is truth itself and honour itself notwithstanding his out-of-the-way notions about religion.
One futuristic novel that had a huge impact on me was Mary Shelley's 'Frankenstein,' which is kind of science fiction plus Gothic.
There's one of my new poems actually - is a good example of where my poetry has ended up. My earlier river poetry was more like a cross between Shelley and Dylan Thomas.
I was trained in the '50s as a New Critic. I remember what literature was like before the New Critics, when people stood up and talked about Shelley's soul and such things.
Once I started tossing quips at Shelley Berman and he got more and more incensed. Finally, during a commercial, he exploded, 'I didn't come here to be a straight man,' and walked out.
If the guardians of society, the protectors of 'young persons,' could have had their way, we should have known nothing of Byron or Shelley. The voices that thrill the world would now be silent.
Shelley Jackson's 'Half Life' is the textual equivalent of an installation, a multivocal, polymorphous, dialogic, dystopian satire wrapped around a murder mystery wrapped around a bildungsroman.
'Cheers' was great. They paired me up with Shelley Long on this tiny bar set for the final audition. That was my first really big one, and we just clicked instantly - I still think I got the part because of Shelley.
When I first started out, 'Time' magazine did an article on what it called 'the sick comics,' and they were myself, Shelley Berman, Nichols & May, Jonathan Winters, Lenny Bruce, and Mort Sahl. We were considered 'sick.'
There are people who have energy that say 'don't come near me, don't get too close.' There's people like Adrienne Shelley who have the energy of 'come over here and give me a hug and if you're around me you're going to be happy about it.'
We cannot arrive at Shakespeare's whole dramatic way of looking at the world from his tragedies alone, as we can arrive at Milton's way of regarding things, or at Wordsworth's or at Shelley's, by examining almost any one of their important works.
I carry Yeats with me wherever I go. He's my constant companion. I always can find some comfort in Yeats no matter what the situation is. Months and months and months go by and I know I need to switch to Shelley or somebody else, but right now Yeats is enough for me.
Poets writing in English have long learned to mourn from classical precedents. They have drawn on a tradition of pastoral elegies, which incorporate the dead into the cycles of nature, that runs from Theocritus' Idylls to John Milton's 'Lycidas' and Percy Shelley's 'Adonais.'
It's been such a deep and amazing journey for me, getting close to John Keats, and also I love Shelley and Byron. I mean, the thing about the Romantic poets is that they've got the epitaph of romantic posthumously. They all died really young, and Keats, the youngest of them all.
'The Red' is the first book in a trilogy that gained a big following as a self-published e-book, and is now out in paper from Saga. It introduces us to reluctant hero Shelley, a former anti-war activist who chooses to join the military rather than serve jail time after being arrested at a protest.
Networks like Adult Swim allow artists to be artists and allow their vision to come through without a lot of tinkering. I worked on 'Moral Orel' and 'Mary Shelley's Frankenhole,' and they bothered us very little. They very, very seldom came to us and said 'Change this,' or 'You can't do that,' or 'We'd like to see this.'
