Statue Lyrics Quotes

A statue stands in a shaded place An angel girl with an upturned face A name is written on a polished rock A broken heart that the world forgot

CHALLENGES TO YOUNG POETS Invent a new language anyone can understand. Climb the Statue of Liberty. Reach for the unattainable. Kiss the mirror and write what you see and hear. Dance with wolves and count the stars, including the unseen. Be naïve, innocent, non-cynical, as if you had just landed on earth (as indeed you have, as indeed we all have), astonished by what you have fallen upon. Write living newspaper. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance level for hot air. Write and endless poem about your life on earth or elsewhere. Read between the lines of human discourse. Avoid the provincial, go for the universal. Think subjectively, write objectively. Think long thoughts in short sentences. Don't attend poetry workshops, but if you do, don't go the learn "how to" but to learn "what" (What's important to write about). Don't bow down to critics who have not themselves written great masterpieces. Resist much, obey less. Secretly liberate any being you see in a cage. Write short poems in the voice of birds. Make your lyrics truly lyrical. Birdsong is not made by machines. Give your poem wings to fly to the treetops. The much-quoted dictum from William Carlos Williams, "No ideas but in things," is OK for prose, but it lays a dead hand on lyricism, since "things" are dead. Don't contemplate your navel in poetry and think the rest of the world is going to think it's important. Remember everything, forget nothing. Work on a frontier, if you can find one. Go to sea, or work near water, and paddle your own boat. Associate with thinking poets. They're hard to find. Cultivate dissidence and critical thinking. "First thought, best thought" may not make for the greatest poetry. First thought may be worst thought. What's on your mind? What do you have in mind? Open your mouth and stop mumbling. Don't be so open minded that your brains fall out. Questions everything and everyone. Be subversive, constantly questioning reality and status quo. Be a poet, not a huckster. Don't cater, don't pander, especially not to possible audiences, readers, editors, or publishers. Come out of your closet. It's dark there. Raise the blinds, throw open your shuttered windows, raise the roof, unscrew the locks from the doors, but don't throw away the screws. Be committed to something outside yourself. Be militant about it. Or ecstatic. To be a poet at sixteen is to be sixteen, to be a poet at 40 is to be a poet. Be both. Wake up and pee, the world's on fire. Have a nice day.

And should there exist someone endowed with the beauty of a statue and the lyrical eloquence of a nightingale in song, gifted, moreover, with ready wit, then the wearer of the crown can neither sleep nor rest, but his sleep is interrupted, his voluptuousness suppressed, his appetite for pleasure lost, and he is filled with grave apprehensions; with wicked tongue he curses the creator nature for fashioning others suitable to rule and for not making him the first and last and the fairest of men.

The machine was self-programming, however, and in addition had a special ambition-amplifying mechanism with glory-seeking circuits, and very soon a great change took place. Its poems became difficult, ambiguous, so intricate and charged with meaning that they were totally incomprehensible. When the next group of poets came to mock and laugh, the machine replied with an improvisation that was so modern, it took their breath away, and the second poem seriously weakened a certain sonneteer who had two State awards to his name, not to mention a statue in the city park. After that, no poet could resist the fatal urge to cross lyrical swords with Trurl's electronic bard. They came from far and wide, carrying trunks and suitcases full of manuscripts. The machine would let each challenger recite, instantly grasp the algorithm of his verse, and use it to compose an answer in exactly the same style, only two hundred and twenty to three hundred and forty-seven times better. The machine quickly grew so adept at this, that it could cut down a first-class rhapsodist with no more than one or two quatrains. But the worst of it was, all the third-rate poets emerged unscathed; being third-rate, they didn't know good poetry from bad and consequently had no inkling of their crushing defeat. One of them, true, broke his leg when, on the way out, he tripped over an epic poem the machine had just completed, a prodigious work beginning with the words: Arms, and machines I sing, that, forc'd by fate, And haughty Homo's unrelenting hate, Expell'd and exil'd, left the Terran shore …

Were those statues there before?” Buer waves his little cuttlefish tentacles and moves his finger across the paper. “They’re new. A different icon for each of the Seven Noble Virtues.” He’s not lying. They’re all there. All the personality quirks that give Hellions a massive cultural hard-on. Cunning. Ruthlessness. Ferocity. Deception. Silence. Strength. Joy. They’re represented by a collection of demonic marble figures with leathery wings and forked tongues, bent spines and razor dorsal fins, clusters of eyestalks and spider legs. The colonnades look like the most fucked-up miniature golf course in the universe and they’re on what’s supposed to be the new City Hall. “I have an idea. How about instead of the Legion of Doom we put up the Rat Pack and the lyrics to ‘Luck Be a Lady’?” “Excuse me?” says Buer. “What I mean is, it looks a little fascist.” “Thank you.” “That wasn’t a compliment.