A Quote by Matthea Harvey
I suppose it's useful in designating writing that tends to come from personal experience, work that delineates an "I," but it's a loose lasso, one which may rope certain poems by one poet and not others.
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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.
My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.
These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.
Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
I hate it when people don't recognize the work of women as being universal, or having any import to the world at large, as opposed to men's work, which is generally tends to be seen as more universal - men's writing about their own experience tends to be put in a broader context.
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.
It's a big thing to call yourself a poet. All I can say is that I have always written poems. I don't think I'm interested in any discussion about whether I'm a good poet, a bad poet or a great poet. But I am sure, I want to write great poems. I think every poet should want that.
There is at this present juncture, a certain fermentation of mind, a certain activity of speculation and enterprise which if properly directed may be made subservient to useful purposes; but which if left entirely to itself, may be attended with pernicious effects.
I always thought that poetry is the verdict that others give to a certain kind of writing. So to call yourself a poet is a kind of dangerous description. It's for others; it's for others to use.
Of little use, the man you may suppose,
Who says in verse what others say in prose;
Yet let me show a poet's of some weight,
And (though no soldier) useful to the state,
What will a child learn sooner than a song?
What better teach a foreigner the tongue?
What's long or short, each accent where to place
And speak in public with some sort of grace?
I do feel that now and I feel that this development of recording poems, of speaking poems at readings, of having records of poets, I think this is a wonderful thing. I'm very excited by it. In a sense, there's a return, isn't there, to the old role of the poet, which was to speak to a group of people, to come across.
There's nothing in the world for which a poet will give up writing, not even he is a Jew and the language of his poems is German.
The only way you can acquire anything is by writing a cheque. At the end of the day you're writing a personal cheque, which tends to concentrate the mind.
If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.
I find myself absolutely fulfilled when I have written a poem, when I'm writing one. Having written one, then you fall away very rapidly from having been a poet to becoming a sort of poet in rest, which isn't the same thing at all. But I think the actual experience of writing a poem is a magnificent one.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
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