Where conscious subjectivity is concerned, there is no distinction between the observation and the thing observed.
For me, poetry is a situation – a state of being, a way of facing life and facing history.
In the Arab world, there is no link between the cultural habits of peoples and the ways of thinking and creating of modern intellectuals. They are two separate worlds.
Our tools are extensions of our purposes, and so we find it natural to make metaphorical attributions of intentionality to them; but I take it no philosophical ice is cut by such examples.
I am a guest of the French language. My poems in French are born of my interaction with the French language, which is not the same as that of a French poet.
People must insist on the right to say no, to be alone, to stand out from the herd. Creative artists can say all this in their own way and in their own field, by hard, rigorous work.
I want to block some common misunderstandings about ‘understanding’: In many of these discussions one finds a lot of fancy footwork about the word ‘understanding.’
I belong to a specific category of writers, those who speak and write in a language different from that of their parents.
I will argue that in the literal sense the programmed computer understands what the car and the adding machine understand, namely, exactly nothing.
Where questions of style and exposition are concerned I try to follow a simple maxim: if you can’t say it clearly you don’t understand it yourself.