I love to create interesting textures with language. You can do it as long as it seems like a discovery.
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Part of what we love about poetry is the fact that it seems ancient, that it has an authority of ancient language and ancient form, and that it's timeless, that it reaches back.
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A poem in form still has to have voice, gesture, a sense of discovery, a metaphoric connection, as any poetry does.
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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.
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I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.
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The Language Poets are writing only about language itself. The Ashbery poets are writing only about poetry itself. That seems to me a kind of dead end.
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You have to really dive deep back into yourself and get rid of so much modern analytical categorization. It's one of the great things poetry does.
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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.
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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.