What I discerned in the U.S. was a convergence of poetic voices coming from many different rents in the social fabric, many cultures, many tributaries, which, together, make up the American poetry of the late twentieth century.
Of all natural forces, vitality is the incommunicable one. . . . Vitality never "takes." You have it or you haven't it, like health or brown eyes or a baritone voice.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.
Singing for stage, if you don't hear yourself, that's when you push, and that's when you can hurt your voice sometimes. So if I can hear myself in my ear, it really helps me to find that balance of how loud I needed to be singing.
The Younger Generation comes, bringing its gifts. They are the first fruits of the Negro Renaissance. Youth speaks, and the voice of the New Negro is heard.
Every special interest is entitled to justice - full, fair, and complete... but not one is entitled to a vote in Congress, to a voice on the bench, or to representation in any public office.
And ever, as the story drained The wells of fancy dry, And faintly strove that weary one To put the subject by, "The rest next time--" "It is next time!" The Happy voice cry. Thus grew the tale of Wonderland
Just as the orator marks his good things by a dramatic pause, or by raising and lowering his voice, or by gesture, so the writer marks his epigrams with italics, setting the little gem, so to speak, like a jeweler.