Insert blow job and Reagan, or have Reagan giving a blow job to Allen Ginsberg, while Tom Waits is playing for the tortured and the misunderstood, and people will think you are a fucking genius.
The breadth of that poetic growth is in itself a fantastic teacher.
You want to have an open sesame for every soul you encounter. You want something to open in them and for them, and when you are at your best, you don’t care if they ever say thank you.
The conflict between eternity and time is deeply embedded in the consciousness of human persons.
[The Scottish Play]
[from PEOPLE THOUGHTS]
Language is often a hopeless (thank God) matter of almosts that fail to be 100 percent accurate
I’d like you, for a moment, to think of writing not as a calling or gift or pipe dream, not even a profession or hobby. Instead, I’d like you to think of writing as a habit.
I’ve been thinking about what Robert Kelly wrote in the early 60s about each image in a poem having “its field of force, its shadow moving darkly through the poem.”
If you want to escape all rhetoric, you are out of luck.
The echoes of her pain are still reverberating, like a mechanical baby doll, crying forever: a baby, our baby, who can never be soothed.
Salmonville, Part 2
We must teach our students to reinvent the wheel over and over again, to go back to origins and test them.
More, the poem’s resolution enables professors to flee its fragments without worry.
[An Invitation (Horace's Ode i.20)]
Stating the obvious is not easy.
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