A Quote by John Barton
Most victims of my autobiographical verse are either far too polite, remarkably understanding unaware that I have written poems about them.
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Clouds are poems, and the most moving poems linger on the blackboard so long, written in cursive so lovely, they also exist inside our fingertips. We never really erase them at the end of the lesson.
For far too long, victims' rights have been discussed only in the context of sentencing. Sentencing is very important, but the debate obscures something much more fundamental: most victims have so little faith in our criminal justice system that they do not access it at all.
If I can quote myself, I explained whatever it is I'm doing once for No Tell Motel, and I still think it's the clearest I've ever been about this: "I don't write free verse poems - mostly because I can't. But I am interested in the musical effects achievable with free verse."
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 feel a lot of sympathy for the young women I've written about, including Younger Janice. I think that all of them (me in Girlbomb, Samantha in Have You Found Her, and Elizabeth in I, Liar) had some early family trauma that contributed to their dysfunctional methods of dealing with the world, but I wouldn't call them/myself victims - survivors, maybe, but not victims. Nor do I think of them/myself as con artists.
I had written here and there about my mother in my poems. There are poems for her in my first and second books.
But in a lot of ways my poems are very conventional, and it's no big deal for me to write a poem in either free verse or strict form; modern poets can, and do, do both.
There are so many projects that I've written and had to abort because either I felt too distressed by what I was doing to the people who I was writing about, or they couldn't cope with it because their view of themselves was so far removed from reality.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.
I've written poems about gifts. Life is inspirational; sometimes it comes from the most unlikely places.
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.
Natural, hell! What was it Chaucer Said once about the long toil that goes like blood to the poems making? Leave it to nature and the verse sprawls, Limp as bindweed, if it break at all Life's iron crust Man, you must sweat And rhyme your guts taut, if you'd build Your verse a ladder.
I've written many extra verses to songs that I learned to sing - an extra verse about a friend, or just add some verse - and that led to writing my own songs.
I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.
I know that one of the things that I really did to push myself was to write more formal poems, so I could feel like I was more of a master of language than I had been before. That was challenging and gratifying in so many ways. Then with these new poems, I've gone back to free verse, because it would be easy to paint myself into a corner with form. I saw myself becoming more opaque with the formal poems than I wanted to be. It took me a long time to work back into free verse again. That was a challenge in itself. You're always having to push yourself.
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