The movement of meaning is surely the music of poetry. There isn't any music as we mean music, but there is that movement in the body and the soul, i… - Muriel Rukeyser

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The movement of meaning is surely the music of poetry. There isn't any music as we mean music, but there is that movement in the body and the soul, if you like. And one longs for it; it is a deep pleasure and a deep life to us, and there is this union of a physical life and a mental life that comes to us in poetry, and the physical life is bound up with sound in that way. The movement of our breathing is why we take pleasure in hearing poets read, even though most poets are abominable readers, as you know.

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About Muriel Rukeyser

Muriel Rukeyser (15 December 1913 – 12 February 1980) was an American poet and political activist, most famous for her poems about equality, feminism, social justice, and Judaism.

Biography information from Wikiquote

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Additional quotes by Muriel Rukeyser

How can I look back and not speak of the stupid learning about birth? Of the stupid learning that people make love, and how it seemed the reason for all things, the intimacy of my wondering, the illumination that — to an adolescent — was the cause for life around me, the reason why the unhappy people I knew did not kill themselves?

I think there is choice possible at any moment to us, as long as we live. But there is no sacrifice. There is a choice, and the rest falls away. Second choice does not exist. Beware of those who talk about sacrifice

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In time of the crises of the spirit, we are aware of all of need, our need for each other and our need for ourselves. We call up our fullness; we turn, and act. We begin to be aware of correspondences, of the acknowledgement in us of necessity, and of the lands. And poetry, among all this — where is there a place for poetry? If poetry as it comes to us through action were all we had, it would be very much. For the dense and crucial moments, spoken under the stress of realization, full-bodied and compelling in their imagery, arrive with music, with our many kinds of theatre, and in the great prose. If we had these only, we would be open to the same influences, however diluted and applied. For these ways in which poetry reaches past the barriers set up by our culture, reaching toward those who refuse it in essential presence, are various, many-meaning, and certainly — in this period — more acceptable. They stand in the same relation to poetry as applied science to pure science.

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