Zitat des Tages von Robert Morgan:
Poetry, almost by definition, calls attention to its language and form.
The idea of avant-garde art is a very suspicious thing to me, the idea that poetry is new and it keeps being new the way Chevrolets every year are new.
A lot of my students are Asian-American, and it has been thrilling to watch them break through the stereotypes into something alive and surprising.
I don't think the creative writing industry has helped American poetry.
One of the most powerful devices of poetry is the use of distortions. You can go from talking about the way a minute passes to the way a century passes, or a lifetime.
When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.
One of the biggest changes that ever occurred in my life was going from the isolation of working part-time as a house painter in Henderson County, to Cornell, where everybody was a literary person.
The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.
What actually makes poetry poetry is of course impossible to define. We recognize it when we hear it, when we see it, but we can't define it.
I learned to impersonate the kind of person that talks about poetry. It comes from teaching, I think.
In the later books I am much more at home in the use of language to describe things. I had never thought of that until a critic pointed that out.
Distance not only gives nostalgia, but perspective, and maybe objectivity.
Young writers only take off when they find their subjects. Since almost everyone has a family and stories about family, that is often a place to start.
I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.
In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
The Black Mountain poet I like most is the early Creeley. Those early poems seem very lyrical and very traditional, with a lot of voice and character.
I tell students they will know they are getting somewhere when a scene is so painful they can just barely bring themselves to write about it. A writer has to draw blood.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
I write as a way of keeping myself going. You build your life around writing, and it's what gets you through. So it's partly just curiosity to see what you can do.
Philip Larkin has a tough honesty and sense of humor that I find irresistible, as a contemporary poet.
Neither of my parents has been very sensitive about my writing.
Teaching writing over the years intrudes on your own writing in important ways, taking away some of the excitement of poetry.
Among the American contemporaries I read with most enjoyment are several North Carolinians. I think the best poetry being written these days is being written by Southerners.
A poem in form still has to have voice, gesture, a sense of discovery, a metaphoric connection, as any poetry does.
Alchemy is the art of far and near, and I think poetry is alchemy in that way. It's delightful to distort size, to see something that's tiny as though it were vast.
Some people want to call me an Appalachian writer, even though I know some people use regional labels to belittle.
If a poem is not memorable, there's probably something wrong. One of the problems of free verse is that much of the free verse poetry is not memorable.
I don't think American poetry has gotten any better in the past 35 years. Oddly enough, creative writing programs seem to have been good for fiction, and I would not have predicted that.
I love to compare different time frames. Poetry can evoke the time of the subject. By a very careful choice of words you can evoke an era, completely throw the poem into a different time scale.
It was less a literary thing than a linguistic, philosophical preoccupation... discovering how far you can go with language to create immediate, elementary experience.
The great watershed of modern poetry is French, more than English.
If people associate me with a region, that's fine with me.
Pound's translation of Chinese poetry was maybe the most important thing I read. Eliot a little bit later.
I seem to keep returning to my father in poems because his personality was so extreme, so driven. He did everything to excess.
The fact that something is in a rhymed form or in blank verse will not make it good poetry.
Some people swear by writing courses, but whether it really helps American poetry, I have doubts.