A Quote by W. H. Auden
Every American poet feels that the whole responsibility for contemporary poetry has fallen upon his shoulders, that he is a literary aristocracy of one.
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An English poet writes, I think, just for people who are interested in poetry. An American poet writes, and feels that everyone ought to appreciate this. Then he has a deep sense of grievance . . .
I don't know that I had a sense that there was such a thing as "the poetry world" in the 1960s and early 70s. Maybe poets did, but for me as an onlooker and reader of poetry, poetry felt like it was part of a larger literary world. I mean, even the phrase "the poetry world" reflects a sort of balkanization of American literary and artistic life that has to some extent happened since then.
Loneliness is necessary for pure poetry. When someone intrudes into the poet's life (and any sudden personal contact, whether in the bed or in the heart, is an intrusion) the poet loses his or her balance for a moment, slips into being what he or she is, uses his or her poetry as one would use money or sympathy. The person who writes the poetry emerges, tentatively, like a hermit crab from a conch shell. The poet, for that instant, ceases to be a dead person.
He who writes poetry is not a poet. He whose poetry has become his life, and who has made his life his poetry - it is he who is a poet.
Anyone reading contemporary poetry - especially contemporary African-American poetry - will quickly see that race is an enduring subject. What some don't realize is just how diverse the handling of that subject is. It's as diverse as blackness.
Poetry is also the physical self of the poet, and it is impossible to separate the poet from his poetry.
I think the best American poetry is the poetry that utilizes the resources of poetry rather than exploits the defects or triumphs of the poet's personality.
When we look at the arts and letters in America, especially if we look at poetry, and poetry set to music, this dialogue, we have this very powerful beautiful, eclectic, diary, or narration of being in America, being American, participating in America, becoming more of America and also as an American, the American creative spirit, which is quite interesting. Our composers and poets have spent more time writing and thinking and speaking out of what it means to be a composer or poet as well as to be an American, or a composer or poet In America; both relationships.
I began writing for kids because I wanted to effect a change in American society. I continue in that spirit. By the time we reach adulthood, we are closed and set in our attitudes. The chances of a poet reaching us are very slim. But I can open a child's imagination, develop his appetite for poetry, and more importantly, show him that poetry is a natural part of everyday life. We all need someone to point out that the emperor is wearing no clothes. That's the poet's job.
The British and American literary worlds operate in an odd kind of symbiosis: our critics think our contemporary novelists are not the stuff of greatness whereas certain contemporary Americans indubitably are. Their critics often advance the exact opposite: British fiction is cool, American naff.
Every contemporary poet is a door to another poet.
If the poet wants to be a poet, the poet must force the poet to revise. If the poet doesn't wish to revise, let the poet abandon poetry and take up stamp-collecting or real estate.
I began to write in an enclosed, self-confident literary culture. The poet's life stood in a burnished light in the Ireland of that time. Poets were still poor, had little sponsored work, and could not depend on a sympathetic reaction to their poetry. But the idea of the poet was honored.
I'm educating myself more about world poetry. I know a lot about contemporary American poetry, so I felt I needed to learn more about figures like Borges, Akhmatova, Neruda, etc. I felt I needed a bigger lens to see poetry through. It really helps to see poetry as a world language, and not just something American.
The Kyle who made 'Smyle' honestly has a little more conflict in his life. He has a little more weight on his shoulders. He feels like he has to make an album about something. It's a Kyle with duty, with a plan, with a responsibility.
Another trouble with poetry - and I'm gonna stop the list at two - is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions.
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