I have taught students from the New York City area so long I have a special affinity and rapport with them. It surprises me sometimes that there are students from anywhere else.
I don't think the creative writing industry has helped American poetry.
I don't think American poetry has gotten any better in the past 35 years. Oddly enough, creative writing programs seem to have been good for fiction, and I would not have predicted that.
If people associate me with a region, that's fine with me.
I learned to impersonate the kind of person that talks about poetry. It comes from teaching, I think.
In the later books I am much more at home in the use of language to describe things. I had never thought of that until a critic pointed that out.
Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.
Neither of my parents has been very sensitive about my writing.
The best books of our times have included the three mature volumes of Philip Larkin. They're very short books of poems, and very carefully arranged.
Some people swear by writing courses, but whether it really helps American poetry, I have doubts.
Some people want to call me an Appalachian writer, even though I know some people use regional labels to belittle.
I encourage students to pursue an idea far enough so they can see what the cliches and stereotypes are. Only then do they begin to hit pay dirt.
You have to really dive deep back into yourself and get rid of so much modern analytical categorization. It's one of the great things poetry does.
I love to create interesting textures with language. You can do it as long as it seems like a discovery.
What actually makes poetry poetry is of course impossible to define. We recognize it when we hear it, when we see it, but we can't define it.
Teaching writing over the years intrudes on your own writing in important ways, taking away some of the excitement of poetry.
We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.
I think that it's more likely that in my 60s and 70s I will be writing poetry rather than fiction.
Our most famous writers are Faulkner and Eudora Welty and Flannery O'Connor. It would make sense that the poetry would reflect some of those same values, some of the same techniques.
The Language Poets are writing only about language itself. The Ashbery poets are writing only about poetry itself. That seems to me a kind of dead end.
I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.
Young writers only take off when they find their subjects. Since almost everyone has a family and stories about family, that is often a place to start.
A lot of my students are Asian-American, and it has been thrilling to watch them break through the stereotypes into something alive and surprising.
Alchemy is the art of far and near, and I think poetry is alchemy in that way. It's delightful to distort size, to see something that's tiny as though it were vast.
The Black Mountain poet I like most is the early Creeley. Those early poems seem very lyrical and very traditional, with a lot of voice and character.
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