A Quote by August Wilson
In 1977, I wrote a series of poems about a character, Black Bart, a former cattle rustler-turned-alchemist. A good friend, Claude Purdy, who is a stage director, suggested I turn the poems into a play.
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I wrote two poems about the '81 uprisings: 'Di Great Insohreckshan' and 'Mekin Histri.' I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.
I wrote two poems about the 81 uprisings: Di Great Insohreckshan and Mekin Histri. I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.
One of these poems I wrote after having been here only a month. The other, I wrote this morning. In the space between the two poems, I have found acres of grace
I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.
Back in high school, I wrote a novel about a character named Bart Simpson. I thought it was a very unusual name for a kid at the time. I had this idea of an angry father yelling 'Bart,' and Bart sounds kind of like bark - like a barking dog.
Back in high school, I wrote a novel about a character named Bart Simpson. I thought it was a very unusual name for a kid at the time. I had this idea of an angry father yelling "Bart," and Bart sounds kind of like bark - like a barking dog.
Poems don't have to rhyme... Poems are about beauty and emotion; in other words poems are about feelings.
My days are filled with work I love - reading poems, writing poems, talking with people about poems, teaching, directing a writing program, hosting readings, etc.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
I don't think I did write any poems to fill narrative gaps. Not consciously, anyway. As much as possible, I try to discover my poems' subject matter through the act of writing, instead of deciding ahead of time what my poems will be about.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
I always wrote poems when I was a little girl, and I loved hip hop music, and I kind of just started writing poems over beats, and that's when I started rapping.
The poem in Where Good Swimmers Drown are love poems. But love poems that defy the divisions between emotion and intellect, private and public, life and art, writer and reader. To read Elbe's poems is to discover not only what it means to be in love, but what it means to be alive.
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