Georgian Poem Quotes

The Tower of Babbling Lately I've been seeing poems on Hello Poetry posted in Russian, Georgian, Turkish, Urdu, Hindi and Tagalog. If these poets really want to be read, they'd be much better off knocking on their hated neighbor's door, and sayin', "Hey, wanna to read some awesome poetry even a fucking idiot like you can understand?

Thus I have tried, at tedious length, I fear, to answer some of the questions which I began by asking. I have given an account of some of the difficulties which in my view beset the Georgian writer in all his forms. I have sought to excuse him. May I end by venturing to remind you of the duties and responsibilities that are yours as partners in this business of writing books, as companions in the railway carriage, as fellow travellers with Mrs. Brown? For she is just as visible to you who remain silent as to us who tell stories about her. In the course of your daily life this past week you have had far stranger and more interesting experiences than the one I have tried to describe. You have overheard scraps of talk that filled you with amazement. You have gone to bed at night bewildered by the complexity of your feelings. In one day thousands of ideas have coursed through your brains; thousands of emotions have met, collided, and disappeared in astonishing disorder. Nevertheless, you allow the writers to palm off upon you a version of all this, an image of Mrs. Brown, which has no likeness to that surprising apparition whatsoever. In your modesty you seem to consider that writers are of different blood and bone from yourselves; that they know more of Mrs. Brown than you do. Never was there a more fatal mistake. It is this division between reader and writer, this humility on your part, these professional airs and graces on ours, that corrupt and emasculate the books which should be the healthy offspring of a close and equal alliance between us. Hence spring those sleek, smooth novels, those portentous and ridiculous biographies, that milk and watery criticism, those poems melodiously celebrating the innocence of roses and sheep which pass so plausibly for literature at the present time.

There was on existence where Nora had kept up the fiction writing she had occasionally toyed with at university and was now a published author. Her novel The Shape of Regret received rave reviews and was shortlisted for a major literary award. In that life she had lunch in a disappointingly banal Soho members' club with two affable, easy-going producers from Magic Lantern Productions, who wanted to option it for film. She ended up choking on a piece of flatbread and knocking her red wine over one of the producer's trousers and messing up the whole meeting. In one life she had a teenage son called Henry, who she never met properly because he kept slamming doors in her face. In one life she was a concert pianist, currently on tour in Scandinavia, playing night after night to besotted crowds (and fading into the Midnight Library during one disastrous rendition of Chopin's Piano Concerto No. 2 at the Finlandia Hall in Helsinki). In one life she only ate toast. In one life she went to Oxford and became a lecturer in Philosophy at St. Catherine's College and lived by herself in a fine Georgian townhouse in a genteel row, amid an environment of respectable calm. In another life Nora was a sea of emotion. She felt everything deeply and directly. Every joy and every sorrow. A single moment could contain both intense pleasure and intense pain, as if both were dependent on each other, like a pendulum in motion. A simple walk outside and she could feel a heavy sadness simply because the sun had slipped behind a cloud. Yet, conversely, meeting a dog who was clearly grateful for her attention caused her to feel so exultant that she felt she could melt into the pavement with sheer bliss. In that life she had a book of Emily Dickinson poems beside her bed and she had a playlist called 'Extreme States of Euphoria' and another one called 'The Glue to Fix Me When I Am Broken.