The ambiguities of language, both in terms of vocabulary and syntax, are fascinating: how important connotation is, what is lost and what is gained in the linguistic transition.
I have experienced healing through other writers’ poetry, but there’s no way I can sit down to write in the hope a poem will have healing potential. If I do, I’ll write a bad poem.
My mother was told she couldn’t go to medical school because she was a woman and a Jew. So she became a teacher in the New York City public school system.
I worked at all kinds of jobs, mostly commercial editing.
Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
I lived in the studio apartment that I bought for four years before I bought it in 1989, so I was already in it. I began living there in 1985, so I’ve had the same address and phone number since then.
I don’t know whether a poem has be there to help to develop something. I think it’s there for itself, for what the reader finds in it.
Given the devaluation of literature and of the study of foreign languages per se in the United States, as well as the preponderance of theory over text in graduate literature studies, creative writing programs keep literature courses populated.
I try to write everyday. I do that much better over here than when I’m teaching. I always rewrite, usually fairly close-on which is to say first draft, then put it aside for 24 hours then more drafts.
Good writing gives energy, whatever it is about.