A Quote by Jane Hirshfield
Poems are always interested in what Ivan Illich called 'shadow work,' not least because that is no small part of their own way of working.
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The beam in our own eye is harder to detect, although - or more accurately because - to detect it, and remove it, is vastly more important on elementary moral grounds, and commonly more important in terms of direct human consequences as well. Intellectuals have historically played a critical function in performing these tasks, and [Ivan] Illich is right to observe that claims to scientific expertise and special knowledge are often used as a device.
I'm working on poems about work, I guess. Or related to work. Which sounds dull as drywall but I'm having great fun working the vernacular of work into poems. I'm also writing some poems about family. And I don't know, just writing. Taking breaks. Writing some more.
If Ivan the Terrible had been kissed and loved between zero and three, he probably would have become Ivan Not So Terrible. If you're Jewish, you have a small smile on your face. Because you know the rest are wrong and you don't want to hurt their feelings.
I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.
Individuals are certainly interested, at times, in having their own way, and their own way may go contrary to the ways of others. But they are also interested, and chiefly interested upon the whole, in entering into the activities of others and taking part in conjoint and cooperative doings. Otherwise, no such thing as a community would be possible.
I've always been intrigued with the male characters in novels like 'Pride and Prejudice' such as Mr. Darcy, and this poem is part of a series of poems that explore desire and obsessions. The poems have been sitting in a drawer for a few years, so I decided to dust them off and work on them again since I have not written a new poem in more than three years. I'm not sure anything will become of the series, but at least it gives me something to work on in a period where I feel very uncreative.
In a certain way working in animation has become very democratic because now anyone with the right technology can at least prepare a project from home in order to attract investors. Some people can even set up a small home studio and start working.
With my own work, I've always tried at least to wake people up and shake them out of their complacency. And that's always easier if I'm working with an artist who really has something to say.
I've always been interested in an architecture of resistance - architecture that has some power over the way we live. Working under adversarial conditions could be seen as a plus because you're offering alternatives. Still, there are situations that make you ask the questions: 'Do I want to be a part of this?'
I hope there's always at least a small part of me that's always surprised, always taken aback, always childlike or innocent.
My own theory is that people are just so desperate for somebody they can feel better than, in America. Now that everyone's going broke and working 17 jobs - if they have one at all - at least they can look at these guys behind bars and think, "At least I get to wear my own clothes to work."
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
In my own writing, I've mostly abandoned end-rhyme, but wordplay is still a huge part of my process. I've written a series of mermaid poems in the last few years. The first one was called "The Straightforward Mermaid" which arose from my delight in that word combination. After that, I decided that future mermaid poems would have to be words ending in "d" or "t," which led to "The Deadbeat Mermaid," "The Morbid Mermaid" and so forth . . .
Like a lot of small press founders I was looking for a way into publishing - as well as a way out of academia. Without moving to London, I couldn't see a way of working for a publishing house whose work I liked. Believe it or not, the simplest way for me to get into publishing was to start my own press.
I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.
Once considered an art form that called for talent, or at least a craft that called for practice, a poem now needs only sincerity. Everyone, we're assured, is a poet. Writing poetry is good for us. It expresses our inmost feelings, which is wholesome. Reading other people's poems is pointless since those aren't our own inmost feelings.
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