Clásico contracultural publicado originalmente por Wesleyan University Press donde Richards despliega un profundo pensamiento interdisciplinario que vincula el oficio del alfarero, la poesía y los procesos creativos con la vida interior del individuo: centrar la arcilla en el torno deviene metáfora para centrarse a uno mismo.
Craig Carlson a much loved professor at The Evergreen State College loaned me this book and he was lucky to get it back. Several years after he died in a tragic accident I was in a bookstore looking for something to help me through the grief of having lost a loved one of my own and found the copy he loaned me. I am certain it was the same copy. Either way the book is full of analogies between ceramics and living life.
I didn’t get along with the writing style. There is definitely merit in what Richards attempted to express, her voice just doesn’t jive with my own aesthetic sensibilities.
I couldn't keep up with her pace, and never got used to her tone. But I also didn't dislike this.
For lack of a better description- and with no derision intended- this was like listening to an intelligent, compassionate, artist friend when they perhaps haven't been tending to certain aspects of their mental health. Disjointed, flurried ideas full of deep emotions, passion, and the desire to share and describe a light whose color not everyone can see.
It felt like a gift to have her thoughts shared with me, although I don't know if I really understood much at all.
An interesting philosophical take on two of my favourite things - poetry and pottery. Too bad I didn't have time to give this dense book the attention and thought it deserves - my 3 star rating is probably more of a reflection of my reading it in small bits and pieces rather than finding larger chunks of time to spend with these ideas.
I’ve had this book on my shelf forever, and finally got around to reading it. I’m glad I waited, actually, as I don’t think I would have understood much of it 30 years ago when I bought it. Very reminiscent of Buddhist thought. The only thing that bugged me was her use of the pronoun “he” for a generic person—I know it was written more than 60 years ago, and normally I’ll just let it slide in older books, but it really bothered me. Maybe because the author was female? I don’t know. But glad I got over it enough to finish reading. Lots of gems hidden there.
Even though the ideas and the imagery in this book were good (I love the parallel of centering pottery and centering yourself), there was something about the way this was written that was so inscrutable and hard to understand!
Disfruté algunas partes mucho más que otras, pienso que la organización de los capítulos habría funcionado si la escritura hubiera estado un poco más estructurada, menos divagante. Todo el primer capítulo es hermoso, y creo que sí vale la pena leerlo para recordar que la arcilla está viva y nos transforma de la misma forma en la que nosotros la transformamos. <3 Viva la cerámica
one of my favorites- amazingly enriching in offering perspective on centering in the person. Exploring consciousness, creativity, pedagogy, and experience as art. Each sentence had insights that resonated with me in the truth.
This is one of those books I have had in my possession for decades, since the early 1970s when I first read it -- and have returned to it many times, probably not often enough.