What I'm after is that wakeful state through language that stays alive.
The whole red state/blue state thing is very interesting. Watching that shift over the years.
The dichotomies, the brokenness of the culture around things like the Vietnam war, and then a lot of it has to do with war and where we put our energy and money and attention. And the military industrial complex, which dominates our whole economy. Even with the vision of democracy in other places we know the dark side.
I did go to Vietnam in 2000 as a kind of pilgrimage and to feel my generation was very much a part of this. I felt responsible but also connected and empathetic. It was a very complicated relationship we had, whichever side you were on. The shock of being there was very few people my own age - I was primarily in the North in the streets of Hanoi. A whole generation was essentially decimated.
My teachers were often very eccentric.
It was really hard coming to terms with the Nazi history. Then in my twenties I was traveling to Germany. There was a lot of poetry activity and some of my first readings abroad and trying to relate with people my own age there and what they were discovering and learning had to examine in terms of their backgrounds. Then so many of my friends had family who had either perished in the holocaust or survived in the holocaust. It was very palpable.
Connection to Buddhism is strand in my life.
[Jack] Kerouac looking at the fellaheen worlds. Looking at other cultures. Welcoming it, curious. Really stepping outside his own limited, whatever that narrow world was. It's amazing to think we can do it. We can have that same kind of trajectory of mind.
I remember being caught in this earthquake in Mexico City and having a sense of people coming before me, of being part of this lineage. I felt similarly when I went to India and South America.
The formal stuff feels old and windy. Not to say you shouldn't know prosody. But it's a wonderful time for exploratory poetics. Contemporary poets are inventing all kinds of wild, complex shapes for poetry, as we see. It's a wonderful time, less ego-centered.
I think of the amazing things that were going on. So it's so rich. The doors keep opening.
Literal thousands of Americans taking to the road and getting into that green automobile and just going. At the same time there is real incredible work [of art] that comes out of it. Never forget that.
For me the road became a zone, in places like Saint Marks poetry Project where I worked for 12 years.
It's so rich as a trope - the whole idea of the road and it being in terms of language, being an active experience.
Think of the road as a kind of zone and a site of incredible diversity.
I was raised with a sense of democratic vistas and egalitarianism.
For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.
I think for me in terms of this kind of dichotomy you have to hold the sense of negative capability in your mind - which is Keats line about being able to hold two different ideas 'without any irritable reach after fact or reason.'
I invoke that sense of the particulars of that kind of literal travel and what that has meant historically in terms of diasporas, in terms of the migrations of immigrants coming to this [U.S.] country with a real vision of finding the promised land.
You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.
Allen's [Gisberg] loyalty to his friends was extraordinary. And as he was dying he was calling people: "What can I do for you before I die? Do you need money? What can I do?".
There's a kind of training, when you are sitting in a session in the Japanese tradition or any of the Buddhist traditions, taking your lotus posture or whatever it is. That's what you're doing.
How can you work on letting your thoughts go and getting synchronized into the moment and questioning your wild imagination. But I say just think of all the great Japanese and Chinese poets and scholars who were also meditators.
I don't demonize the downside. As we've seen in Egypt and Tahrir square and other recent event, the adhesiveness through [technology] kinds of communication is extraordinary. Interesting times we live in.
I'm concerned about the overuse of spectacular places. And there's no real wilderness left and so there's a heartbreak there. You can go anywhere and be rescued through your cell phone and have some helicopter drop down.
"I am a self-appointed ambassador for poetry."
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