I do think that there is a profound reservoir of creativity and imagination in everyone I've ever met, and sometimes if someone is persistent and perversely obstinate enough to persevere, then they want to be helped. There is a way to help them.
From Philip Schultz
I think one's relationship with one's vulnerability is a very delicate and precious relationship. Most people try to hide, disguise that vulnerability, and in doing that, you, I think, diminish a great source of power.
I never feel more alone than when I'm traveling. Alone and, to some extent, helpless. The world expects a certain level of competence and can be merciless when this expectation is unmet.
When a child knows that he or she is dyslexic, that it's the way their brain is programmed, and it's not their fault, that makes all the difference in the world.
Art's power of persuasion resides in the small personal details of one's own story, and if it weren't for my struggle with dyslexia, I doubt I'd ever have become a writer or known how to teach others to write.
There is a gap in my work from '84 to 2002, 18 years where I stopped writing. I was working at fiction and other things and starting a school and getting married and starting a family, but I wasn't writing poetry for the better part of 15 years.
I don't think I've worked with anyone where I haven't seen some progress. Now sometimes you can't take someone where they want to go, not all the way, and sometimes you stop, and they do it or don't do it on their own thereafter.
I'm a painfully slow reader. And to this day, I mean, I love reading, and I'm very careful - very selective about what I read because I don't read very fast and, therefore, not a great deal.
What I read, I read thoroughly and retain almost all of it.
I have to often read the same sentence over and over before I understand it. And I have to convince myself that what I'm reading is so enjoyable and so exciting and so good for me that it's worth the effort.
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