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Peter Ackroyd

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No poet is ever completely lost. He has the secret of his childhood safe with him, like some secret cave in which he can kneel. And, when we read his poetry, we can join him there.
--
Chatterton (London: Abacus, 1991), ch. 10, p. 151.

 
Peter Ackroyd

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A man who for a long time has gone around hiding a secret becomes mentally deranged. At this point one would imagine that his secret would have to come out, but despite his derangement his soul still sticks to its hideout, and those around him become even more convinced that the false story he told to deceive them is the truth. He is healed of his insanity, knows everything that has gone on, and thereby perceives that nothing has been betrayed. Was this gratifying to him or not; he might wish to have disposed of his secret in his madness; it seems as if there were a fate which forced him to remain in his secret and would not let him go away from it. Or was it for the best, was there a guardian spirit who helped him keep his secret.

 
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If one day the secret of childhood were to become no longer a secret, the state would be able to save immense sums that it spends on hospitals, psychiatric clinics, and prisons maintaining our blindness. That this might deliberately happen is almost too incredible a thought.

 
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When I was asked to talk about the Obscurity of the Modern Poet I was delighted, for I have suffered from this obscurity all my life. But then I realized that I was being asked to talk not about the fact that people don’t read poetry, but about the fact that most of them wouldn’t understand it if they did: about the difficulty, not the neglect, of contemporary poetry. And yet it is not just modern poetry, but poetry, that is today obscure. Paradise Lost is what it was; but the ordinary reader no longer makes the mistake of trying to read it — instead he glances at it, weighs it in his hand, shudders, and suddenly, his eyes shining, puts it on his list of the ten dullest books he has ever read, along with Moby-Dick, War and Peace, Faust, and Boswell’s Life of Johnson. But I am doing this ordinary reader an injustice: it was not the Public, nodding over its lunch-pail, but the educated reader, the reader the universities have trained, who a few weeks ago, to the Public’s sympathetic delight, put together this list of the world’s dullest books.
Since most people know about the modern poet only that he is obscure—i.e., that he is difficult, i.e., that he is neglected — they naturally make a causal connection between the two meanings of the word, and decide that he is unread because he is difficult. Some of the time this is true: the poet seems difficult because he is not read, because the reader is not accustomed to reading his or any other poetry.

 
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Your daughter says, 'Dad. Mom. I want to join the armed services.' You look at her beautiful face, her life flashes before your eyes, and you see a body bag. Now's the time to let her know the biggest military secret: She can join the military and be as safe-from-death as she would be at home. How? In the war in Iraq, not a single woman has been killed in the Air Force. Nor has a single woman been killed in the Marines. And only one has died in the Navy. Your only job is to keep her out of the Army.

 
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Any form of orthodoxy is just not part of a poet's province ... A poet must be able to claim ... freedom to follow the vision of poetry, the imaginative vision of poetry ... And in any case, poetry is religion, religion is poetry. The message of the New Testament is poetry. Christ was a poet, the New Testament is metaphor, the Resurrection is a metaphor; and I feel perfectly within my rights in approaching my whole vocation as priest and preacher as one who is to present poetry; and when I preach poetry I am preaching Christianity, and when one discusses Christianity one is discussing poetry in its imaginative aspects. ... My work as a poet has to deal with the presentation of imaginative truth.

 
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