at Barbican Centre

at Barbican Centre

Inventing gods I can live with; specificity as self-defence…

Inventing gods I can live with; specificity as self-defence (defining oneself through specific niche concerns); music. These are your three themes for writing today. Pick one of the three, or any combination, and write. (at Barbican Centre)

Spent the day working with these two – @lauriebolger and…

Spent the day working with these two – @lauriebolger and @raymond_antrobus – among others (Valerie Bloom, @adisapoet and John Hegley…), writing poetry with students from Great Yarmouth at UEA.

Please Touch the Art One of my current Spoken Word Educators is…

Please Touch the Art

One of my current Spoken Word Educators is working with blind and partially sighted students, exploring the way imagery can be constructed in spite of the senses. I came across this feature and it made me think of her work…

To get the best view, sometimes you have to jump out of a plane.

To get the best view, sometimes you have to jump out of a plane.: File under miscellany.

“It’s a subtle difference, but that’s the whole point: English is an awfully subtle instrument. A…”

“It’s a subtle difference, but that’s the whole point: English is an awfully subtle instrument. A dictionary that ignores these little shades is dangerous; in fact in those cases it’s worse than useless. It’s misleading, deflating. It divests those words of their worth and purpose.”

You’re probably using the wrong dictionary « the jsomers.net blog

In recent conversation about dictionary use with one of the young poets I’m tutoring, I came back to this post about the power of a good dictionary and, in particular, Webster’s 1913 edition. True, Webster’s defines American English, and I have yet to settle on a similarly enlivening British English equivalent, but the thought of a dictionary as a living repository rather than a graveyard is an appealing one.

Gordon Parks Invisible Man – Harlem, As Seen By Gordon Parks and…

Gordon Parks Invisible Man – Harlem, As Seen By Gordon Parks and Ralph Ellison | W Magazine

I’ve been talking about Breaking Silence through a number of school visits recently, and taking the opportunity to reference the influence of Ralph Ellison’s Invisible Man on the collection. Came across this photo feature through the kind of serendipity that makes the internet worthwhile…

“In the swerve into some new possibility of mind, a poem with a window stops to look elsewhere,…”

“In the swerve into some new possibility of mind, a poem with a window stops to look elsewhere, drawing on something outside of its self-constructed domain and walls.  A window can be held by a change of sense realms or a switch of rhetorical strategy, can be framed by a turn of grammar or ethical stance, can be sawn open by an overt statement or slipped in almost unseen.  Whether large or small, what I am calling a window is recognized primarily by the experience of expansion it brings: the poem’s nature is changed because its scope has become larger.”

On Tony Hoagland’s “Poetic Housing” | Structure & Surprise

The Song of the Earth, Jonathan Bate (Picador, 2000)

The Song of the Earth, Jonathan Bate (Picador, 2000)

“There is only one passion which satisfies man’s need to unite himself with the world, and to acquire…”

“There is only one passion which satisfies man’s need to unite himself with the world, and to acquire at the same time a sense of integrity and individuality, and this is love. Love is union with somebody, or something, outside oneself, under the condition of retaining the separateness and integrity of one’s own self.”

 Erich Fromm

“I’d like for us to learn to have a more generous and kind understanding of what it means to have a…”

“I’d like for us to learn to have a more generous and kind understanding of what it means to have a successful life, one that is not about individual accumulation of goodies, but actually about the transformation of communities. It’s bathed in humility. And it’s practical.”

Omid Safi, via swissmiss | A Successful Life

Because sometimes you need to be in the presence of something…

Because sometimes you need to be in the presence of something that reminds you of how small you actually are.

Reading: Deep Work, Cal Newport.

Reading: Deep Work, Cal Newport.

“This one strikes at the heart of today’s culture and into the value of an empty mind — free from…”

“This one strikes at the heart of today’s culture and into the value of an empty mind — free from busyness and distractions. Martin believes that when you have an empty mind, you can see things when they come into it. Imagine the freedom of an empty mind — one not bound by to-do lists, meetings, work and the other muck we dump into it. When the mind is full our attention revolves around the meaningless. And yet attention is perhaps the most valuable thing we have.”

Agnes Martin on The Secret of Happiness, via Farnam Street Blog

poetsandwriters: “Man, sometimes it takes you a long time to…

poetsandwriters:

“Man, sometimes it takes you a long time to sound like yourself.”

—Miles Davis

“The impulse to create begins — often terribly and fearfully — in a tunnel of silence. Every real…”

“The impulse to create begins — often terribly and fearfully — in a tunnel of silence. Every real poem is the breaking of an existing silence.”

Adrienne Rich (b. May 16, 1929) on writing, freedom, and how silence fertilizes the human imagination (via explore-blog)

[Breaking Silence never had its own Tumblr site, but every now and again I see something like this…]

austinkleon: Mary Oliver’s instructions for living a…

austinkleon:

Mary Oliver’s instructions for living a life.

From her poem “Sometimes,” found in the collection Red Bird.

5.
Two or three times in my life I discovered love.
Each time it seemed to solve everything.
Each time it solved a great many things
but not everything.
Yet left me as grateful as if it had indeed, and
thoroughly, solved everything.

Filed under: Mary Oliver

(thanks @nicoleslaw)

“Writing for pleasure, like reading for pleasure, is essentially volitional, intrinsically motivated,…”

“Writing for pleasure, like reading for pleasure, is essentially volitional, intrinsically motivated, writer-directed and choice-led; it has meaning making at its core. Writing that we require from children that is formally assessed is not child-led and may well have the reverse effect, such that the major purpose becomes pleasing the teacher and passing tests, and a preoccupation with form rather than substance. There is a pressing need to attend to children’s ideas, their generation, incubation and contemplation, as well as to appropriate grammatical knowledge.”

Tessa Cremin, via Writing for pleasure? – Teachers as Writers

“More and more I find that salvation lives in that small space between what happens to me and how I…”

“More and more I find that salvation lives in that small space between what happens to me and how I react.”

(via howitzerliterarysociety)

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