The formal stuff feels old and windy. Not to say you shouldn't know prosody. But it's a wonderful time for exploratory poetics. Contemporary poets are inventing all kinds of wild, complex shapes for poetry, as we see. It's a wonderful time, less ego-centered.
I invoke that sense of the particulars of that kind of literal travel and what that has meant historically in terms of diasporas, in terms of the migrations of immigrants coming to this [U.S.] country with a real vision of finding the promised land.
I think for me in terms of this kind of dichotomy you have to hold the sense of negative capability in your mind - which is Keats line about being able to hold two different ideas 'without any irritable reach after fact or reason.'
Myths, by their definition, involve transformations, struggles through various worlds or layers of reality and of obscuration.
Various random experiments, cut-ups, fold-ins, juxtapositions, timed writings of other kinds, the "objects assignment" which involves dream, adventure, ancestry. Writing outside, writing on moving vehicles. Looking at paintings in the grand museums of the world in a proscribed way.Little strategies to keep the lalita - play or dance - going. Sometimes it's lonely you know, just you and your own imagination.
In a way, America's the shadow of everything I do, everywhere I go, everything I carry, no matter if I travel to the ends of the earth. And I live frequently on the spine of the continent, near the Great Divide. Then there's the side of it being the real energy center for a truly post-postmodernist poetry mind, which is also archaic, because we can still be close to the land.
For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.
I was raised with a sense of democratic vistas and egalitarianism.
I hope I'm not implying role of contemporary poet for myself, although there's a kind of resonant paradigm. It's traditionally a difficult role.
Think of the road as a kind of zone and a site of incredible diversity.
Literal thousands of Americans taking to the road and getting into that green automobile and just going. At the same time there is real incredible work [of art] that comes out of it. Never forget that.
I think of the amazing things that were going on. So it's so rich. The doors keep opening.
You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.
I like the idea of the object, the relic. And I see it as a time machine too or a device you plug into a socket that activates a sound and light show.
I'm concerned about the overuse of spectacular places. And there's no real wilderness left and so there's a heartbreak there. You can go anywhere and be rescued through your cell phone and have some helicopter drop down.
If you can integrate your life to have a kind of meditative practice that is considering others.
There's a kind of training, when you are sitting in a session in the Japanese tradition or any of the Buddhist traditions, taking your lotus posture or whatever it is. That's what you're doing.
How can you work on letting your thoughts go and getting synchronized into the moment and questioning your wild imagination. But I say just think of all the great Japanese and Chinese poets and scholars who were also meditators.
I don't demonize the downside. As we've seen in Egypt and Tahrir square and other recent event, the adhesiveness through [technology] kinds of communication is extraordinary. Interesting times we live in.
I get very upset when money is being cut and people can't visit the Grand Canyon.
I think anything that gets people outside [is good] - I'm a big supporter of public parks and public spaces.
The dichotomies, the brokenness of the culture around things like the Vietnam war, and then a lot of it has to do with war and where we put our energy and money and attention. And the military industrial complex, which dominates our whole economy. Even with the vision of democracy in other places we know the dark side.
We humans need to do better with our vast minds and alchemical powers. Future radial poetries might be more symbiotic with the rest of consciousness.
The whole red state/blue state thing is very interesting. Watching that shift over the years.
Obviously, if I'm reading in Vienna or Venezuela or Italy, there's the issue of language, and I will make choices that are more sound oriented. Or I'll try to incorporate those languages and occasions somehow.
"I am a self-appointed ambassador for poetry."
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