A Quote by Adrienne Rich
I think poets should work in the non-literary, non-academic world, get to know more than a workshop or a university.
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In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
Fiction writers have their own world, and poets have their own world, and literary criticism has sort of passed over into cultural studies in the university, and so on. They seem more disconnected from each other than they did when I first began to write.
I don't think in terms of that bizarre tautology 'value for money' in my literary and journalistic work - and nor will I in my academic role. However, if I don't believe I'm helping my students towards a fuller and more empowering relationship with the world, then I'll resign.
The maiden Olympics had more to protest about than mere war, though. Central to its ethos was a rejection of two establishments the political one, certainly, but also that of the wider poetry world itself. It changed poetry for ever in the UK, ... It led to readings all over the country. You suddenly got more women reading and publishing poems, as well as gay guys and poets from all over the world. Until that time, published poetry had been very university-based white, male, middle-class. We were trying to break poetry out of its academic confines.
I don't know that I had a sense that there was such a thing as "the poetry world" in the 1960s and early 70s. Maybe poets did, but for me as an onlooker and reader of poetry, poetry felt like it was part of a larger literary world. I mean, even the phrase "the poetry world" reflects a sort of balkanization of American literary and artistic life that has to some extent happened since then.
I worked privately, and sometimes I feel that might be better for poets than the kind of social workshop gathering. My school was the great poets: I read, and I read, and I read.
Many faculty retreated into academic specializations and an arcane language that made them irrelevant to the task of defending the university as a public good, except for in some cases a very small audience. This has become more and more clear in the last few years as academics have become so insular, often unwilling or unable to defend the university as a public good, in spite of the widespread attacks on academic freedom, the role of the university as a democratic public sphere, and the increasing reduction of knowledge to a saleable commodity, and students to customers.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
A doctrine-teaching, character-building university, the Brigham Young University is dedicated to the building of character and faith, for character is higher than intellect . . . . We are men of God first, men of letters second, men of science third, and noted men fourth, men of rectitude rather than academic competence. . . . Our academic training must be as impeccable as our lives.
You must realise now, more clearly than ever, that God is calling you to serve Him in and from the ordinary, secular and civil activities of human life. He waits for us everyday, in the laboratory, in the operating theatre, in the army barracks, in the university chair, in the factory, in the workshop, in the fileds, in the home and in all the immense panorama of work.
There's definitely been a focus on the literary aspects of my music, and I always get a little cringey because I don't feel like I'm particularly literary. There's a sort of academic label that's put on me that seems inaccurate.
There are those who say that poets should use her and his art to change the world. I'd agree with that, but I think everybody should do that. I think the chef and the baker and the candlestick maker - I think everybody should be hoping to make it a better world.
I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.
A literary academic can no more pass a bookstore than an alcoholic can pass a bar.
There are so many new young poets, novelists, and playwrights who are much less politically committed than the former generations. The trend is to be totally concentrated on the literary aesthetic and to consider politics to be something dirty that shouldn't be mixed with an artistic or a literary vocation.
My biggest poetic influences are probably 20th-century British and Irish poets. So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.
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