We still have our larynx, we still have our minds and we still have our consciousness. We still have this gift to make things with words and images and get outside these preordained tropes and ways of thinking and the master narratives - what's handed to us.
Poets have to keep pushing, pushing, against the darkness, and write their way out of it as well.
We can think for ourselves and we can awaken the world to a greater consciousness.
If I smashed the traditions it was because I knew no traditions. I'm the girl with the unquenchable thirst.
Your compassion travels beyond your own inner circle. And then you breathe out an alternative version where you mentally and emotionally and psychologically purify the poisons. So indeed, the generative idea is in the crux of this practice and of my propensity toward poetry, which is a practice of the imagination.
I took my vow to poetry; this is where I'm going to be. These are my people; this is my tribe. This is where I'm going to put my energy.
We need a world-wide Department of Peace.
I'm drawn to the magical efficacies of language as a political act.
This will be a good time for poetry, you know, when things get darker and stranger and your very speech is being questioned and the sense of trusting that human thing.
Our need to reimagine our world through the vibratory larynx, that's what matters. Re-awaken the world to itself. Through ideas, pictures, sounds. Hold the mirror up to "nature."
Growing up in the fifties, having to wear a dog tag, having to take shelter in a bomb shelter. That turned me toward the road, I did not want to live in fear of that, I was gong to work somehow against what that vision was, and what that horror was. It was poetry, art, music.
My love of poetry comes from the "actualization" I experienced in the poetry of others. And I was reading it silently and there is deep pleasure in that intimacy, a mind-to-mind transfer going on. All the music is there, inherently. And mystery as well.
When students are first at the Kerouac School we harp on Gertrude Stein's very basic poetic insistence that words are things . Not to invalidate your experience or all the great feelings you have, I tell them. Although poetry may be good for you, it's not therapy. You're making something with words which are visceral, muscular, active, not just markers of how you feel. And we have classes studying William Blake, Ezra Pound, Charles Olson, Robert Duncan, Stein.
I'd like to invoke the Native American Navajo because their word for road is used as a verb. Their whole relationship to road has to do with how you travel it, who you are traveling it with, what the environment might be, where you're headed, in what direction, the weather and so on.
Refined, intense, wise, stiring, immediate, subtile, all the charmed qualities gather in Dropping the Bow. These translations are precious jewels. Like the erotic moods they investigate, these versions shimmer and startle with a palpable desire to be heard, and a mystical sense of impermanence. This is a transmission of a vital, extraordinary tradition.
Any technology is just a skillful means and it's how you use it.
When [Allen] Ginsberg and I founded the Jack Kerouac School of Disembodied Poetics - that was 1974 - we referred to it by a term used by Sufi thinker Hakim Bey, as "temporary autonomous zones." That for me sums up some of Whitman's sense of a community of likeminded people with a certain kind of adhesiveness and connection and sharing of this ethos.
I am a self-appointed ambassador for poetry.
The sense of the preciousness of the body - vehicle for poetry.
For me poems are acts re-done, and that can vibrate well into the future.
We pride ourselves at Natrona - I mean, pride {ironically] - on developing a noncompetitive community. That's very important. The values that can come from that kind of meditative work combined with the creative work you do, combined with your activism, can come together.
We had much more imagery from Vietnam war. The media was not controlled. The storyline, the master narrative was not controlled. I thin it was some those images really radicalized people and shifted things to some extent. And the Viet Cong also, their tenacity.
Contemporary movies just drive me crazy. The violence and the sentimentality and the spiritual materialism and Theism and the incredible indulgence in ignorance is so claustrophobic.
As a woman I have felt encouraged and fed by and nurtured by the work of [Jack] Kerouac and others.
There's that older poem of John Ashbery's-"America"-with the pun "I'm a wrecker," so wreckage and building out of the ashes of that. We're haunted by the genocide that is America, the decimation of so many native cultures. As a mix-blood European ancestry American, you're a nexus of all those violences, and yet there's a relative personal identity as well.
