A Quote by James Tate
I can't know entirely what's at stake beforehand; you find out as you go. I love to take a poem, for instance, that starts with something seemingly frivolous or inconsequential and then grows in gravity until by the end it's something very serious.
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Sometimes the only way I know how to work through something is by writing a poem. And sometimes I get to the end of the poem and look back and go, 'Oh, that's what this is all about,' and sometimes I get to the end of the poem and haven't solved anything, but at least I have a new poem out of it.
You sit and you let your fingers go to wherever they are going to go. You wait until you start to hear something, and you start to figure out what it is that you're doing. And then you add another piece next to that piece, and wait to see if some kind of pattern or something interesting starts to grow, and then you cultivate it.
A good poem is not completely a poem until it has received a critical response that grows out of the poem in an almost biological way.
I think the best way to find out about something is to try to do it to the max. A lot of people take up a hobby or sport and then find an excuse not to carry on with it. Once I start something, I won't stop until I'm as good at it as I'll ever be.
I think it's incumbent upon elected officials to make sure that, if we're going to demand more tax money from people, that we use it in a productive manner and not just say, 'This is what we're going to use it for,' and then they find out that it was used for something else and sometimes something very frivolous.
Often I'm struck by something that I read; then I go and research it a little more, especially if I begin a poem, and I find out that I need to know more. Then I usually get intrigued and excited about whatever it is I'm writing about.
I had jumped off the edge, and then, at the very last moment, something reached out and caught me in midair. That something is what I define as love. It is the one thing that can stop a man from falling, powerful enough to negate the laws of gravity.
A poem, being an instance of language, hence essentially dialogue, may be a letter in a bottle thrown out to the sea with the-surely not always strong-hope that it may somehow wash up somewhere, perhaps on the shoreline of the heart. In this way, too, poems are en route: they are headed towards. Toward what? Toward something open, inhabitable, an approachable you, perhaps, an approachable reality. Such realities are, I think, at stake in a poem.
I go through periods where I don't shop at all, and then I go crazy and buy everything in sight. I never know what to wear, and I'm at my worst before an audition. I pull everything out of the closet, throw it on my bed. I'll get entirely dressed and then take it all off again until I'm in a kind of frenzy.
My best times are midnight to six actually. I'll leaf through my notebooks and if something catches my eye and I feel like I want to transfer it from the notebook to the page, I do, and then comes this very strange process which is difficult to describe in that I'll write until I get stuck or I can't go any further or I'm boring myself or whatever and then I might go to another poem.
One, something emotional has to be at stake. There has to be something important for me that I'm writing about. And then two, I have to have a formal idea. Something has to be being worked out in poetry.
A poem has a certain - a different time. For instance, a poem is a very private experience, and it doesn't have a driving tempo. In other words, you know, you can go back and forward; you can comeback; you can linger. You know, it's a completely different time reference.
I'm not that type of musician where I can sit down at the piano and work out a song; I actually really enjoy that process of sitting with somebody and having nothing and then suddenly something starts appearing. You struggle with it, and then suddenly a song starts to appear. Then, you've got to try and muscle it - there's that word again - into something and you do. You tussle with it and play with it and roll around with it and suddenly, magically, something appears.
I take a subject, then I go on stage, and whatever is in there comes out. You can edit as you go and continue to work it out on stage until it's something you like, but I never think about it. I just go up and flow.
When composing music, I just start spilling things out and then wait until they take form, you know what I mean, until I see like a common thread or something.
People have a very limited idea of what being creative is - playing the guitar or the flute or writing poetry - so people go on writing rubbish in the name of poetry. You have to find out what you can do and what you cannot do. Everybody cannot do everything. You have to search and find your destiny. You have to grope in the dark, I know. It is not very clear-cut what your destiny is, but that's how life is. And it is good that one has to search for it - in the very search, something grows.
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