Meter Quotes (displaying: 1 - 30 of 48 quotes )
Going out? Are you going out? He's not going out? What do you mean he's not going out? Are you out here because you're still mad that they moved the Dodgers to L.A.? Are you going out or not? You're not going out? I guess you're not going out? huh? You mean go out parking in the evenings? Are you going out to park? Mr. Tepper, he asked at one point, did you ever? if you were in the middle of an interesting story in the paper or perhaps an interesting conversation with somebody who dropped in to talk to you while you were parking? notice that the meter had run out and therefore go out and put more money in the meter? If we're both keeping an eye out, what does it hurt?
And what is written well and what is written badly...need we ask Lysias or any other poet or orator who ever wrote or will write either a political or other work, in meter or out of meter, poet or prose writer, to teach us this?" What is good, Phdrus, and what is not good...need we ask anyone to tell us these things?
The whole human earth was bleeding. Time, buildings, routes, rain, erase the constellation of the crime, the fact is, this small planethas been covered a thousand times by blood, war or vengeance, ambush or battle, people fell, they were devoured, and later oblivion wiped cleaneach square meter: sometimesa vague, dishonest monument, other times a clause in bronze, and still later, conversations, births, townships, and then oblivion. What arts we have for exterminationand what science to obliterate memory! What was bloody is covered with flowers. Once more, young men, ready yourselvesfor another chance to kill, to die again, and to scatter flowers over the blood.
Of the not very many ways known of shedding one's body, falling, falling, falling is the supreme method, but you have to select your sill or ledge very carefully so as not to hurt yourself or others. Jumping from a high bridge is not recommended even if you cannot swim, for wind and water abound in weird contingencies, and tragedy ought not to culminate in a record dive or a policeman's promotion. If you rent a cell in the luminous waffle, room 1915 or 1959, in a tall business centre hotel browing the star dust, and pull up the window, and gently - not fall, not jump - but roll out as you should for air comfort, there is always the chance of knocking clean through into your own hell a pacific noctambulator walking his dog; in this respect a back room might be safer, especially if giving on the roof of an old tenacious normal house far below where a cat may be trusted to flash out of the way. Another popular take-off is a mountaintop with a sheer drop of say 500 meters but you must find it, because you will be surprised how easy it is to miscalculate your deflection offset, and have some hidden projection, some fool of a crag, rush forth to catch you, causing you to bounce off it into the brush, thwarted, mangled and unnecessarily alive. The ideal drop is from an aircraft, your muscles relaxed, your pilot puzzled, your packed parachute shuffled off, cast off, shrugged off - farewell, shootka (little chute)! Down you go, but all the while you feel suspended and buoyed as you somersault in slow motion like a somnolent tumbler pigeon, and sprawl supine on the eiderdown of the air, or lazily turn to embrace your pillow, enjoying every last instant of soft, deep, death-padded life, with the earth's green seesaw now above, now below, and the voluptuous crucifixion, as you stretch yourself in the growing rush, in the nearing swish, and then your loved body's obliteration in the Lap of the Lord.
It is necessary to create constraints, in order to invent freely. In poetry the constraint can be imposed by meter, foot, rhyme, by what has been called the "verse according to the ear."... In fiction, the surrounding world provides the constraint. This has nothing to do with realism... A completely unreal world can be constructed, in which asses fly and princesses are restored to life by a kiss; but that world, purely possible and unrealistic, must exist according to structures defined at the outset (we have to know whether it is a world where a princess can be restored to life only by the kiss of a prince, or also by that of a witch, and whether the princess's kiss transforms only frogs into princes or also, for example, armadillos).
I met him in the language lab. In a lull between lab sections, I was editing tapes for freshman German when this shuffling man of hair came in. Possibly twenty, or forty; possibly student, or faculty, Trotskyite or Amish farmer, human or animal; a theif lumbering out of a camera shop, laden with lenses and light meters; a bear who after a terrible and violent struggle ate a photographer. This beast approached me.
Make your own dream. That's the Beatles' story, isn't it? That's Yoko's story, that's what I'm saying now. Produce your own dream. If you want to save Peru, go save Peru. It's quite possible to do anything, but not to put it on the leaders and the parking meters. Don't expect Jimmy Carter or Ronald Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself. That's what the great masters and mistresses have been saying ever since time began. They can point the way, leave signposts and little instructions in various books that are now called holy and worshipped for the cover of the book and not for what it says, but the instructions are all there for all to see, have always been and always will be. There's nothing new under the sun. All the roads lead to Rome. And people cannot provide it for you. I can't wake you up. You can wake you up. I can't cure you. You can cure you.
From authors whom I read more than once I learn to value the weight of words and to delight in their meter and cadence -- in Gibbon's polyphonic counterpoint and Guedalla's command of the subjunctive, in Mailer's hyperbole and Dillard's similes, in Twain's invectives and burlesques with which he set the torch of his ferocious wit to the hospitality tents of the world's colossal humbug . . . I know no other way out of what is both the maze of the eternal present and the prison of the self except with a string of words."- from Harper's Notebook, November 2010
Here I am in the garden laughingan old woman with heavy breastsand a nicely mapped facehow did this happenwell that's who I wanted to beat last a womanin the old style sittingstout thighs apart undera big skirt grandchild slidingon off my lap a pleasantsummer perspirationthat's my old man across the yardhe's talking to the meter readerhe's telling him the world's sad storyhow electricity is oil or uraniumand so forth I tell my grandsonrun over to your grandpa ask himto sit beside me for a minute Iam suddenly exhausted by my desireto kiss his sweet explaining lips.
In your language you have a form of poetry called the sonnet…There are fourteen lines, I believe, all in iambic pentameter. That’s a very strict rhythm or meter…And each line has to end with a rigid pattern. And if the poet does not do it exactly this way, it is not a sonnet…But within this strict form the poet has complete freedom to say whatever he wants…You’re given the form, but you have to write the sonnet yourself. What you say is completely up to you.
...the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured- disgrace, humiliation, poverty, war, crime, ennui- in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off.
At all these European shows there are autograph collectors who stand outside for sound check and before the show and sometimes at the hotel. I don’t even know if they know who I am. At Gateshead, I signed autographs going in to the show, when I came out this little guy came up to me. Cathy said, “You already signed for him.” He said, “No! I wasn’t here before.” He was irate. Anyway, Cathy and I got in the car and went to the hotel that was about mile away. The guy beat the car there. I told him (he was Irish) that he’d just broken the Irish 200 meter record. I signed and invited him up to the room to spend the night. I love great athletes.
A person should be buried only half a meter, or two feet, below the surface. Then a tree should be planted there. He should be buried in a coffin that decays so that when you plant a tree on top the tree will take something out of his substance and change it into tree-substance. When you visit the grave you don’t visit a dead man, you visit a living being who was just transformed into a tree. You say, “This is my grandfather, the tree is growing well, fantastic.” You can develop a beautiful forest that will be more beautiful than a normal forest because the trees will have their roots in graves. It will be a park, a place for pleasure, a place to live, even a place to hunt.
The thing about her is, she’s good-natured. He knew it the second he saw her standing by the parking meters. He could just tell from the soft way her belly looked. With women, you keep bumping against them, because they want different things, they’re a different race. Either they give, like a plant, or scrape, like a stone. In all the green world nothing feels as good as a woman’s good nature.
Produce your own dream. If you want to save Peru, go save Peru. It’s quite possible to do anything, but not if you put it on the leaders and the parking meters. Don’t expect Carter or Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself.