[New-Poetry] Wordsalad; poets talking

[Anny Ballardini]

I am close to:

Frank Bidart: Poems are models of Self-making.

Ellen B Voight: The difficulty and discipline of Art gets us out of the
igloo of the Self.

Glück: A poem begins as an urgent, felt need to bring a perception into a
form.

James Longenbach: A good poem teaches the writer how to write it.

Not to mention our previous Master in Dis/organization____

!



On Tue, Nov 11, 2008 at 1:52 AM, James Cervantes
<cervantes.james at gmail.com>wrote:

> Book jacket poet-speak.  My vote for the worst (which would not make a book
> jacket, at least not for a book of poems): "I feel a horrified, appalled
> grief about the built environment. I loathe concrete." - Lyn Hejinian
> Best example of insularity: "Robert Pinsky: Contemporary poetry is informed
> largely by translations from non-Western sources." - Robert Pinsky
>
> My vote for flirting with possible truth: Glück: "Every great poem teaches
> its readers how to read it."
>
> - Jim
>
> On Mon, Nov 10, 2008 at 3:17 PM, <jforjames at aol.com> wrote:
>
>> http://wordsalad.wordpress.com/
>>
>> Part of the Academy of American Poets' Forum 2008, a full day of panel
>> discussions yesterday at NYU produced a series of conversations that
>> explored the mysteries of creativity and writing from a number of angles.
>> Some of these conversations will be soon available on the Poets.org<http://www.poets.org/>web site. Here are a few of the bon mots I enjoyed.
>>
>> Ron Padgett: The best poems make me dance in my head
>>
>> Lyn Hejinian: The collision of natural place vs the built environment is a
>> vast impasse, the big aporia. I feel a horrified, appalled grief about the
>> built environment. I loathe concrete.
>>
>> Robert Pinsky: Contemporary poetry is informed largely by translations
>> from non-Western sources.
>>
>> Susan Stewart: When we're born, we enter the world through a door that
>> won't allow us to return. When we die, we leave the world through a door
>> that won't allow us to return.
>>
>> Stewart: We turn to the Light, but it blinds us, and we must turn away.
>>
>> Ron Padgett: Any line repeated many times is not the same thing. It goes
>> through transformations.
>>
>> Louise Glück: All memorable poems are difficult. But that doesn't mean you
>> must write a poem that is so harrowing and violently perceptive that people
>> flee from it.
>>
>> Glück: Every great poem teaches its readers how to read it.
>>
>> Carl Phillips: Poets see things clearly that other people either (a) don't
>> see clearly, or (b) can see, but more easily turn away from.
>>
>> Ellen Bryant Voight: Poetry presents difficulties of several kinds:
>> Density, Reference, Protean form, Erasure, Derangement of senses, and Tonal
>> complexity. Easily accessible poetry has no tonal complexity, or no tone at
>> all.
>>
>> Carl Phillips: Reading a poet's entire body of work chronologically shows
>> a record of a mind surprising itself, and then incorporating those
>> surprises.
>>
>> Glück: A poem begins as an urgent, felt need to bring a perception into a
>> form.
>>
>> James Longenbach: A good poem teaches the writer how to write it.
>>
>> Carl Phillips: A good poem teaches its readers how to read themselves as
>> people.
>>
>> Ellen B Voight: The difficulty and discipline of Art gets us out of the
>> igloo of the Self.
>>
>> James Longenbach: when a student complains that a poem is boring, I say,
>> "That's fine. But it's your fault."
>>
>> Gerald Stern: I'm disorganized today. It's good to be disorganized. It
>> makes you pay attention.
>>
>> Frank Bidart: Poems are models of Self-making.
>>
>> Sharon Olds: My early work was informed by a counter-phobic boldness.
>>
>> Gary Snyder: Place is more important to our identity than race or gender.
>> Place gives us our body. Place is possible on any scale.
>>
>> Lyn Hejinian: I look for the sublime point of encounter. When unlike
>> things encounter each other they create an extraordinary event.
>>
>> Hejinian: Every idea has a terrain, and every work has a contextual
>> landscape. Some writing is highly focused, poly-focused. It is a writing of
>> rolling surfaces with peaks and valleys that fold into the whole.
>>
>> Victor H. Cruz: The Caribbean is a form of Cubism: elements of Spanish,
>> Taino, and African, with language and accents a jagged line that runs
>> through the painting.
>>
>> Hejinian: the best antidote to global capitalism is global imagination.
>> Imagination is not administratable.
>>
>> ------------------------------
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>>
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>>
>>
>
>
> --
>
> "Enjoy the breadcrumb pudding at Hansel & Griddle's" - The Mesa Gourmet
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Salt River Review: http://www.poetserv.org
> http://www.hamiltonstone.org/catalog.html#temporarymeaning
> http://www.fieralingue.it/documenti/mr_bondo.pdf
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-- 
Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing
star!
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