In Mary Oliver’s “Of Power and Time,” she shows us a more efficient way of becoming a creative and extraordinary worker. In her work, she shares many examples and ideas to help display her message that creative work should be done by dedicating large amounts of time, and giving it all your effort to make it truly extraordinary. Oliver demonstrates the main idea of that creative work requires more attention as it does not make the world go around, but forwards. Oliver uses curious word choice, asserting ideas, illustration of examples, and strong points, to give her audience of creative workers seeking for improvement a better understanding of how creative and extraordinary work can be done. Oliver’s use of curious word choices help her express …show more content…
After Oliver’s first statement, she transitions to an example to explain the topic better as she talks about distractions, such as a call from the dentist, a lack of supply of mustard, or an uncle’s birthday, providing readers with a better understanding of how distracted one can get. (1). Another example Oliver uses is that of a pilot and the fact that the passenger wants nothing special from the pilot, just that the flight is safe and that they pilots work as they do normally ,and work with confidence (3). Helping in her explaining of that we do not think about the ordinary, because it is just the regular, but when it comes to the extraordinary we must dedicate more time and power because it is what leads us to the future (3). Oliver also uses an example of a knight, and how they have little creativity and adventure in their life, but just being a knight is an adventure (5). Which shows her readers that they cannot separate their life from their work, but must go at their work with a large amount of energy and concentration to make it extraordinary. Throughout Oliver’s work, the reader can see the true power and effectiveness of these examples and the effectiveness they accomplish. The lack of examples in Oliver’s writing would lead to a writing that is confusing and difficult to read. With using these, Oliver can deliver her message with an easier context that the reader …show more content…
She allows her readers to ponder about the message she is displaying as she says, “…that the self can interrupt the self-and does- is a darker and more curious matter” (3). She then leads into a thought provoking statement, where she explains that there people that “…that make the world go around,” and those that don’t just make it go around “…but forward.” (4). With this statement, Oliver leads her readers into really thinking about the world and the fact that there are two kinds of the work, but also that they work simultaneously to have the world both “go around” and forward (4). To conclude her paper, Oliver beautifully adds a point saying, “ The most regretful people on the earth are those who felt the call to creative work… and gave to it neither power nor time,” which leaves her readers to truly rethink the way they should go at their creative work (7). Oliver uses strong points exquisitely throughout her paper, and in such a way that forces her readers to think more than they would do for other papers. With such strong points, Oliver displays her creative work message in such a way that causes her audience of hopeful and creative workers to take her words to heart if they want to be
Alexie, Sherman. “The Joy of Reading and Writing: Superman and Me” Writer’s Presence: A Pool of Readings. 5th ed. Ed. Robert Atawan and Donald McQuade. Boston:Bedford/St. Martin’s, 2006. 73-76. Print
In a world dominated by technology, reading novels has become dull. Instead of immersing into books, we choose to listen to Justin Bieber’s new songs and to scroll through Instagram posts. We have come to completely neglect the simple pleasures of flipping through pages and getting to finally finish a story. Sherman Alexie and Stephan King’s essays attempt to revive this interest in books that has long been lost. They remind us of the important role that reading plays in our daily lives. “The Joy of Reading and Writing: Superman and Me,” for instance, demonstrates how being literate saved the narrator from the oppressive nature of society. The author explains that even though he was capable of reading complex books at an astonishingly young
In the letters that Rilke wrote for Kappus, we can discern that we could learn how to deal with our emotions and psychological experiences from the several perspectives of artists. We can infer that artists put in several types of emotions and unique strategies in dealing with various types of challenges in life. Like the artists, we should learn to be creative by being strong in dealing with emotional setbacks. We are only in charge of ourselves. If we allow our negative emotions to overwhelm us, our loved ones can never help us fully recover if we do not help ourselves.
“The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral paradoxes and struggles of being human.”
Nevertheless, I deem Dewey’s perspective inherently compelling because he wants to place art back to the people, who are disengaged from it and allow them to understand that the experience is supposed to personally affect you on some level within your life. Dewey’s aesthetic experience expresses a relationship between the artist and active viewer, as they are now unified together, on the basis of manifesting an experience that moves from disturbance to harmony (AE., 8).
In her poem entitled “The Poet with His Face in His Hands,” Mary Oliver utilizes the voice of her work’s speaker to dismiss and belittle those poets who focus on their own misery in their writings. Although the poem models itself a scolding, Oliver wrote the work as a poem with the purpose of delivering an argument against the usage of depressing, personal subject matters for poetry. Oliver’s intention is to dissuade her fellow poets from promoting misery and personal mistakes in their works, and she accomplishes this task through her speaker’s diction and tone, the imagery, setting, and mood created within the content of the poem itself, and the incorporation of such persuasive structures as enjambment and juxtaposition to bolster the poem’s
ideas of individuality into their works allowing the readers to think for themselves. In a
A successful writer is he who is able to transmit ideas, emotions, and wisdom on to his readers. He is cable of stirring emotions and capturing the reader's attention with vivid descriptions and clever dialogues. The writer can even play with the meanings of words and fuse reality with fiction to achieve his goal of taking the reader on a wonderful journey. His tools are but words, yet the art of writing is found in the use of the language to create though-provoking pieces that defy the changing times. Between the lines, voices and images emerge. Not everyone can write effectively and invoke these voices. It is those few who can create certain psychological effects on the reader who can seize him (or her) with inspiring teachings, frightening thoughts, and playful games with the language. These people are true writers…
of how John Steinbeck uses extraordinary circumstances to create appeal and realism to the reader.
With the scheduling of their parents, they have no opportunity to let their minds wander without guidelines. Moreover, the structure put in place has taken away the opportunity for children to develop their own interests outside of what others tell them. Furthermore, they are given countless opportunities to develop their knowledge without room for creativity, and hence become a shallow adult. She argues that creativity leads to the great artists, authors, and composers. Consequently, Quindlen’s argument is that scheduling has stunted children’s creative
In William Faulkner’s “Speech Accepting the Nobel Prize in Literature,” he asserted, “It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past” (Faulkner). Humans, by nature, are capable of achieving the unimaginable. However, individuals often do not believe very strongly in this ability. While they possess the potential, many people do not have enough determination to reach toward their goals and “not merely endure: prevail” (Faulkner). As expressed by Faulkner, writers hold the duty to motivate their readers in an optimistic way. Although many individuals believe that the “writer’s duty” is primarily
Her attention to the most miniscule detail and her grand explanations of spaces impacts her writing style and her reader’s reactions. This particularity is seen in this example: “I woke to a room of sunshine. A wispy-thin curtain veiled a multi paned sliding door of glass...The windows needed washing but slid easily apart and I stepped out onto a tilted balcony, a string mop on a hook to the left of me, and a half-missing board where I had planned to put my right foot. The breath went out of me...About 200 feet below was the sea… (151).” The authors account of this event could have been dull and simple as “There was a hole in the floor of the balcony”, but instead she chose to use detail and descriptors to engage the reader to imagine seeing the strange hotel room that almost turned her relaxing morning into a 200 foot
In this notable Ted Talk video "Do schools kill creativity?", Sir Ken Robinson discusses how public education systems demolish creativity because they believe it is essential to the academic growth and success of students. Robinson created a broad arrange of arguments to persuade the viewers to take action on this highly ignored issue, and he primarily focuses on how important creativity is. There are classes within schools that help utilize creativity, but they are not taken seriously by adults in society. Therefore, the value of creative knowledge decreases. Robinson uses an unusual combination of pathos and ethos to make an enjoyable dispute for implementing an education system that nurtures rather than eats away at creativity.
Willis, Paul. "Symbolic Creativity." Everyday Life Reader. Ed. Ben Highmore. Great Britain: Routledge, 2002. 282-294.
... takes to write: “When you had the material stacked up, right there beside you, a pile of notes and facts, there was absolutely no reason for being unable to proceed with the next step.” Eventually though, he quits his writing career, which was based on these principles because it made him unhappy, and this, perhaps, can be interpreted as Clark’s commentary on her own job as an author, a cautionary tale of sorts, teaching that writing ought to always be based on creativity and inspiration and not the mere mechanical stroke of a pen, much like we as individuals need creativity and inspiration in our lives if we are to be truly content. In short, to produce his best work, an author, of both life and works of literature, needs to fuel his creation by his own honest feelings and experiences and fill the blank pages with all the ‘blue elephants’ he can possibly muster.