The poetical tendency of the present and of the preceding century has been divided in a manner singularly curious. One loud and conspicuous faction of bards, giving way to the corrupt influences of a decaying general culture, seems to have abandoned all the properties of versification and reason in its mad scramble after sensational novelty; whilst the other and quieter school constituting a more logical evolution from the poesy of the Georgian period, demands an accuracy of rhyme and metre unknown even to the polished artists of the age of Pope.
And with this sort of increased visibility, there's more money going around in the industry, and it changes a lot, in terms of who gets into the business as a creator, who sticks with it, and who gets pushed out. And I do think it's sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing. But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.
I never really listen to what people say. My thing is that my favorite artists are artists that are theatrical. Obviously when you are doing a recording, things aren't gonna translate as over-the-top.
I have desired, like every artist, to create a little world out of the beautiful, pleasant, and significant things of this marred and clumsy world, and to show in a vision something of the face of Ireland to any of my own people who would look where I bid them. I have therefore written down accurately and candidly much that I have heard and seen, and, except by way of commentary, nothing that I have merely imagined.