The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”

― Kurt Vonnegut, A Man Without a Country

There is no such thing as a moral or an immoral book. Books are well written or badly written. That is all.”
― Oscar Wilde, The Picture of Dorian Gray

“Fantasy is hardly an escape from reality. It’s a way of understanding it.”
― Lloyd Alexander

“We live and breathe words. …. It was books that made me feel that perhaps I was not completely alone. They could be honest with me, and I with them. Reading your words, what you wrote, how you were lonely sometimes and afraid, but always brave; the way you saw the world, its colors and textures and sounds, I felt–I felt the way you thought, hoped, felt, dreamt. I felt I was dreaming and thinking and feeling with you.”

― Cassandra Clare, Clockwork Prince

“I think that whenever we give our pen some free will, we may surprise ourselves. All that wanting to seem normal in regular life, all that fitting in falls away in the face of one’s own strange self on the page……

Reminding myself that no one else would ever see what I wrote—with my ballpoint pen in my wide-ruled spiral notebook—helped me be less censored and less afraid. Later, I could decide to show or not, because whether anyone ever read it was not the most important thing.

Writing or making anything—a poem, a bird feeder, a chocolate cake—has self-respect in it. You’re working. You’re trying. You’re not lying down on the ground, having given up.

And one thing I love about writing is that we can speak to the absent, the dead, the estranged and the longed-for—all the people we’re separated from. We can see them again, understand them more, even say goodbye.”

– Sharon Olds

For the sake of a single verse, one must see many cities, men, and things. One must know the animals, one must feel how the birds fly and know the gesture with which the little flowers open in the morning. One must be able to think back to roads in unknown regions, to unexpected meetings and to partings one had long seen coming; to days of childhood that are still unexplained, to parents whom one had to hurt when they brought one some joy and did not grasp it (it was a joy for someone else); to childhood illnesses that so strangely begin with such a number of profound and grave transformations, to days in rooms withdrawn and quiet and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along on high and flew with all the stars—and it is not yet enough if one may think of all this. One must have memories of many nights of love, none of which was like the others, of the screams of women in labor, and of light, white, sleeping women in childbed, closing again. But one must also have been beside the dying, must have sat beside the dead in the room with the open window and the fitful noises. And still it is not enough to have memories. One must be able to forget them when they are many, and one must have the great patience to wait until they come again.

For it is not yet the memories themselves. Not till they have turned to blood within us, to glance, and gesture, nameless, and no longer to be distinguished from ourselves—not till then can it happen that in a most rare hour the first word of a verse arises in their midst and goes forth from them.

Take notice of the insignificant. “Taking the time to note the character of the less prominent landmarks is a habit… It is only common in three …

TheTravelsketcher’s Tuesday Tip