Poets From New York City

"we asked: wouldn't it have been wonderful if hundreds, thousands of Germans had sat down before gates of the Krupp gas-oven plants and troubled the contented hearts and minds of the good German people?"

"The woman on the other phone is young and in tears. She's saying, "Mom. Ma, please, it's my world they're gonna blow up." Then some silence. Then: "Ma, please, I have to do it. It's not terrible to get arrested. I'm all right, Ma, please listen, you got married and had us and everything and a house, but they still kept making nuclear bombs." More tears. "Listen, listen please, Ma." I wanted to take the phone from her and say, "Ma, don't worry, your kid's okay. She's great. Don't you see she's one of the young women who will save my granddaughter's life?""

"The elderly woman's husband said, What is in his mind? He thinks because he was once a poor boy in a poor country and he became very rich with a beautiful wife, he thinks he can bend steel with his teeth."

"But I do like this language -- wheat and chaff -- with its widening pool of foreign genes, and since I never have had any occasion to say “comestible,” it was pleasurable to think it."

"Don’t you wish you could rise powerfully above your time and name? I’m sure we all try, but here we are, always slipping and falling down into them, speaking their narrow language, though the subject, which is how to save the world--and quickly--is immense."

"[He] had invented a pinball machine. When we saw it, we said, George! This is not a pinball machine alone. This is the poem of a pinball machine, the essence made delicately concrete, and so forth.”"

"No, George said, you don’t understand. The pinball machine--any pinball machine you play in any penny arcade--is so remarkable, so fine, so shrewdly threaded. It is already beautiful in necessity and sufficiency of wire, connection, possibility."

"Thank God for the head. The head is the only place you got to be young when the usual place gets used up."

"It’s hard to stand behind a people and culture in revolutionary transition when you are constantly worried about their irreplaceable and breakable artifacts."

"[Wild] with a dream of wildness."

"What is this crap, Mother, this life is short and terrible. What is this metaphysical shit, what is this disease you intelligentsia are always talking about. First we said: Intelligentsia! Us? Oh, the way words lie down under decades, then the Union of Restless Diggers out of sheer insomnia pulls them up: daggers for the young but to us they look like flowers of nostalgia that grew in our mother’s foreign garden. What did my mother say? Darling, you should have come to Town Hall last night, the whole intelligentsia was there. My uncle, strictly: the intelligentsia will never permit it.!"

"People do want to be young and beautiful. When they meet in the street, male or female, if they're getting older they look at each other's face a little ashamed. It's clear they want to say, Excuse me, I didn't mean to draw attention to mortality and gravity all at once. I didn't want to remind you, my dear friend, of our coming eviction, first from liveliness, then from life. To which, most of the time, the friend's eyes will courteously reply, My dear, it's nothing at all. I hardly noticed."

"Well, a wish, some wish, Ruth said. Well, I wished that this world wouldn’t end. This world, this world, Ruth said softly."

"I have to say that war is man-made. It's made by men. It's their thing, it's their world, and they're terribly injured in it. They suffer terribly in it, but it's made by men. How do they come to live this way?"

"When I came to think as a writer, it was because I had begun to live among women."

"When I found somebody who I fell in love with, it made me feel different than I felt the rest of the day. It was electrifying. That's what inspired the 'Off to the Races' melodies. That's one of the times when you're feeling electrified by someone else and they make you happy to be alive."

"Being human is difficult. Some people make it more difficult than others. I was one of those people."

"If you consider the definition of authenticity, it's saying something and actually doing it. I write my own songs. I made my own videos. I pick my producers. Nothing goes out without my permission. It's all authentic."

"I've been living in New York for about seven years and a lot of the people that I started singing with don't sing any more, don't write any more. So the fact that I can still do that that's kind of a gift, that's what I sort of stay focused on."

"I have everything I want. I really can't think of any ambitions or things to strive for. I don't want to leave the house, I'm happy at home, I really am. I am."

"My best friends are rappers my boyfriends have been rappers. My dearest friends have been from all over the place, so before you make comments again about a WOC/POC issue, I’m not the one storming the capital, I’m literally changing the world by putting my life and thoughts and love out there on the table 24 seven. Respect it."

"There is a high fantasy element in the music, but I’m incredibly plugged into what’s going on politically, socially and pretty much in every way except pop-culturally. I’ve had a very real life, and there have been a lot of things that took a lot of strength and wherewithal to figure out… things I’m still figuring out. That’s probably why the music has such an element of escapism to it"

"If all that I was actually going to be allowed to have by the media was money, loads of money, then fuck it … What I actually wanted was something quiet and simple: a writer's community and respect."

"I wanted to be part of a high-class scene of musicians. It was half-inspired because I didn't have many friends, and I was hoping that I would meet people and fall in love and start a community around me, the way they used to do in the '60s."

"I have a personal ambition to live my life honestly and honor the true love that I’ve had and also the people I’ve had around me. I want to stay hopeful, even though I get scared about why we’re even alive at all."

"When you’re an introvert like me and you’ve been lonely for a while, and then you find someone who understands you, you become really attached to them. It’s a real release."

"The combination of low culture and high technology is one of the most fascinating social features of the video game phenomenon. Computers were invented as super drones to do tasks no human in her or his right mind (much less left brain) would have the patience, or the perseverance, to manage. [...] Now our robot drones, the ones designed to take all the boring jobs, become the instrument for libidinal extravaganzas devoid of any socially productive component. Video games are computers neutered of purpose, liberated from functionality. The idea is intoxicating; like playing with the help on their night off."

"she had then could cram had by she am"

"tire swift swept front ly and lie and lane against"

"Recently, I read an essay by Charles Bernstein criticizing a facile multiculturalism that can "have the effect of transforming unresolved ideological divisions and antagonisms into packaged tours of... local color of gender, race, sexuality, ethnicity, region, class. . . . In this context, diversity can be a way of restoring a highly idealized conception of a unified American culture that effectively quiets dissent." Many of us, I think, have had our doubts about such a "multiculturalism" or "diversity," or symbolic "inclusion," when the real question in our radically unequal society is power and privilege...Charles Bernstein, again, has called our public space "befouled" by "spectacularly inequitable distributions of power." In this "befouled" public sphere poetry cannot hope to lend itself to social change through conventional or contaminated methods of communication. Language, the medium, "autonomous and self-sufficient," must do its work by its own methods. I am, of necessity, abbreviating and simplifying here...The public space is indeed befouled. But I also think that Bernstein and others are right when they imply that threadbare language, frozen metaphors, poems in which we "cling to / what we've grasped too well" are part of the problem, and that the power of a poem to subvert, to "intensify / our relationships" depends on its being poetry-taking on the medium of language with all its difficulties. Difficulties of relationship and strangeness, of truth-telling and torsion and how the netted bridge is to be suspended over the gorge."

"In the America where I'm writing now, suffering is diagnosed relentlessly as personal, individual, maybe familial, and at most to be "shared" with a group specific to the suffering, in the hope of "recovery." We lack a vocabulary for thinking about pain as communal and public, or as deriving from "skewed social relations" (Charles Bernstein)."

"I was also looking for poems that didn't simply reproduce familiar versions of "difference" and "identity." I agree with Charles Bernstein, poet-critic and exponent of L*A*N*G*U*A*G*E poetry, when he remarks in A Poetics that "difference" too often appears in poems simply as "subject matter and ... local color" rather than as "form and content understood as an interlocking figure the one inaudible with-the other." Indeed, there are legions of columnar poems in which the anecdote of an ethnic parent or grandparent is rehearsed in a generic voice and format, whatever the cultural setting. I was glad to find poems by Carolyn Lei-Lanilau, Kimiko Hahn, C. S. Giscombe and Wanda Coleman, among others, that embody dialectics of "otherness" in language itself, the strange and familiar interpenetrating."

"Not for all the fire in hell Not for all the blue in the sky Not for an empire of my own Not even for peace of mind"

"Poetry will never win the war on terror But neither will error abetted by error We girly men are not afraid Of uncertainty or reason or interdependence We think before we fight, then think some more Proclaim our faith in listening, in art, in compromise So be a girly man & sing this gurly song Sissies & proud That we would never lie our way to war"

"As part of the spring ritual of National Poetry Month, poets are symbolically dragged into the public square in order to be humiliated with the claim that their product has not achieved sufficient market penetration and must be revived by the Artificial Resuscitation Foundation (ARF) lest the art form collapse from its own incompetence, irrelevance, and as a result of the general disinterest among the broad masses of the American People. The motto of ARF's National Poetry Month is: "Poetry's not so bad, really.""

"The living need charity more than the dead."

""Learn while you're young," he often said, "There is much to enjoy, down here below; Life for the living, and rest for the dead!" Said the jolly old pedagogue, long ago."

"But I believe that God is overhead; And as life is to the living, so death is to the dead."

"For ever and ever, my darling, yes— Goodness and love are undying; Only the troubles and cares of earth Are winged from the first for flying. Our way we plough In the furrow "now;" But after the tilling and growing the sheaf; Soil for the root, but the sun for the leaf— And God keepeth watch forever."

"Life is a mystery as deep as ever death can be; Yet oh, how dear it is to us, this life we live and see!"

"But when a snow-flake, brave and meek, Lights on a rosy maiden's cheek, It starts—"How warm and soft the day!" "'Tis summer!" and it melts away."

"Whenever a snow-flake leaves the sky, It turns and turns to say "Good-bye! Good-by, dear cloud, so cool and gray!" Then lightly travels on its way."

"Learn the rules, break the rules, make up new rules, break the new rules."

"I love what the poet Marvin Bell has suggested about writing-Read something, then write something. Read something else, then write something else. It's all connected, it's always been connected. Let one activity inform the other. Streams of language exchanging their powers."

"The medieval mystics say the true image and the true real met once and for all on the cross: once and for all: and yet they still meet daily."

"When we are self-conscious, we cannot be wholly aware; we must throw ourselves out first. This throwing ourselves away is the act of creativity. So, when we wholly concentrate, like a child in play, or an artist at work, then we share in the act of creating. We not only escape time, we escape our self-conscious selves."

"The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself. He has thrown himself completely into whatever it is he is doing. A child playing a game, building a sand castle, painting a picture, is completely in what he is doing. His self-consciousness is gone; his consciousness is wholly focused outside himself."

"A book, too, can be a star, “explosive material, capable of stirring up fresh life endlessly,” a living fire to lighten the darkness, leading out into the expanding universe."

"What a child doesn’t realize until he is grown is that in responding to fantasy, fairly tale, and myth he is responding to what Erich Fromm calls the one universal language, the one and only language in the world that cuts across all barriers of time, place, race, and culture. Many … books are from this realm… books on Hindu myth, Chinese folklore, the life of Buddha, tales of American Indians, books that lead our children beyond all boundaries and into the one language of all mankind. In the beginning God created the heaven and the earth... The extraordinary, the marvelous thing about Genesis is not how unscientific it is, but how amazingly accurate it is. How could the ancient Israelites have known the exact order of an evolution that wasn’t to be formulated for thousands of years? Here is a truth that cuts across barriers of time and space."

"I heard a famous author say once that the hardest part of writing a book was making yourself sit down at the typewriter. I know what he meant. Unless a writer works constantly to improve and refine the tools of his trade they will be useless instruments if and when the moment of inspiration, of revelation, does come. This is the moment when a writer is spoken through, the moment that a writer must accept with gratitude and humility, and then attempt, as best he can, to communicate to others. A writer of fantasy, fairly tale, or myth must inevitably discover that he is not writing out of his own knowledge or experience, but out of something both deeper and wider. I think that fantasy must possess the author and simply use him. I know that this is true of A Wrinkle in Time. I can’t possibly tell you how I came to write it. It was simply a book I had to write. I had no choice. And it was only after it was written that I realized what some of it meant. Very few children have any problem with the world of the imagination; it’s their own world, the world of their daily life, and it’s our loss that so many of us grow out of it."