I do think that something of the effect I have on people is to put everything on an edge where they’re both infatuated with a kind of charmingness happening in the person or in the writing, and also flatly terrified by a revelation or acceptance of revelation that’s almost happening, never quite totally happening.
Category Archive: Anne Carson
I do think I have an ability to record sensual and emotional facts and factoids, to construct a convincing surface of what life feels like, both physical life and emotional life.
There are different gradations of personhood in different poems. Some of them seem far away from me and some up close, and the up-close ones generally don’t say what I want them to say. And that’s true of the persona in the poem who’s lamenting this as a fact of a certain stage of life. But it’s also true of me as me.
I never had much education in English poetry as such.
When I began to be published, people got the idea that I should ‘teach writing,’ which I have no idea how to do and don’t really believe in.
We’re talking about the struggle to drag a thought over from the mush of the unconscious into some kind of grammar, syntax, human sense; every attempt means starting over with language. starting over with accuracy.
I am kind of a curmudgeonly person, so I don’t gravitate to groups or traditions, which is probably just pretentious of me.
I don’t know that we really think any thoughts; we think connections between thoughts. That’s where the mind moves, that’s what’s new, and the thoughts themselves have probably been there in my head or lots of other people’s heads for a long time.
I mean, every thought starts over, so every expression of a thought has to do the same. every accuracy has to be invented… I feel I am blundering in concepts too fine for me.
There is something about the way that Greek poets, say Aeschylus, use metaphor that really attracts me. I don’t think I can imitate it, but there’s a density to it that I think I’m always trying to push towards in English.