The mind can be trained to relieve itself on paper.
One of these days I’m-a make me a book out of you.
I see all of us reading ourselves away from ourselves, straining in circles of light to find more light until the line of words becomes a trail of crumbs that we follow across a page of fresh snow...
I’m a line-maker. I think that’s what makes poets different from prose-writers. That’s the main way. We think, not just in sentences the way prose writers do but also in lines. So we’re doing these two things at the same time.
When I’m constructing a poem, I’m trying to write one good line after another. One solid line after another. You know a lot of the lines – some hold up better as lines than others. But I’m not thinking of just writing a paragraph and then chopping it up.
I’m very conscious of the fact that every line should have a cadence to it. It should contribute to the progress of the poem. And that the ending of the line is a way of turning the reader’s attention back into the interior of the poem.
You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
Some difficulty is warranted and other difficulty I think is gratuitous. And I think I can tell the difference. There are certainly very difficult poets that I really enjoy reading.
More often than not in poetry I find difficulty to be gratuitous and show-offy and camouflaging, experimental to a kind of insane degree – a difficulty which really ignores the possibility of having a sensible reader.
I try to presume that no one is interested in me. And I think experience bears that out. No one’s interested in the experiences of a stranger – let’s put it that way. And then you have difficulty combined with presumptuousness, which is the most dire trouble with poetry.
The literary world is so full of pretension, and there’s such an enormous gap between how seriously poets take themselves and how widely they’re ignored by everybody else.
When I wrote I took on the role of the despondent and difficult to understand person. Whereas in life, I was easy to understand, to the point of being simple-minded maybe.
When I began to dare to be clear, because I think clarity is the real risk in poetry because you are exposed. You’re out in the open field. You’re actually saying things that are comprehensible, and it’s easy to criticize something you can understand.
It was a wonderful time to be alive, or even dead.
I thanked everyone whose job it ever was to lay hands on the skin of strangers, and I gave general thanks that I was lying facedown in a warm puddle of soap and not a warm puddle of blood in some corner of this incomprehensible city.
This is the beginning. Almost anything can happen. This is your first night with her, your first night without her. This is the middle. Things have had time to get more complicated, messy really. Nothing is simple anymore. And this is the end. It is me hitting the period and you closing the book.
A poem is an interruption of silence, whereas prose is a continuation of noise.
Just pour the tea, just look into the eye of the flower, just sing the song – one thing at a time and.
After all, is a gentleman’s library of floor-to-ceiling bookshelves anything more than a vanity?
If you look a word up in the dictionary and twenty minutes later you’re still wandering around in the dictionary, you probably have the most basic equipment you need to be a poet.
Is not poetry a megaphone held up to the whispering lips of death?