Philip Schultz Quotes
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I was well into middle age when one of my children, then in the second grade, was found to be dyslexic. I had never known the name for it, but I recognized immediately that the symptoms were also mine.
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Being a poet, the advantages of dyslexia are many, affording me sensitivity to the musical nuances of language and the ability to juggle complicated ideas and narratives simultaneously.
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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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With my fiction, I focused on chapters and overall conceptions, while in poetry, I crawled along in the trenches of each sentence, examining every word for a sign of a deeper significance.
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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.
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I know it sounds strange to say, but the very technologies that have made traveling easier for most people - GPS, automated ticket machines, online schedules and ticketing, boarding passes you can print out at home - have actually made things harder for me.
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I never doubted my talent. If talent was the circus, then I was its ringmaster and audience, applauding its every move.
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Letter scrambling and trouble reading is just a small part of dyslexia. It is also an auditory processing problem.
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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.
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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.
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Suddenly, everyone wanted to talk to me, it seemed. And not about my poetry: it was my dyslexia they were most interested in.
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I was 17 when I decided to write stories as big as cathedrals, overflowing with the kind of memorable and audacious characters Walker Percy, Ernest Hemingway and Saul Bellow created.