Poets From The United States

"When I started to make translations I was just doing it intuitively, and my tendency was to stick to the original as much as possible. Then I gained more confidence in my own poetry and my own writing and I began to become less concerned about being strictly faithful to the original and more concerned with producing a good poem in English. What I have often found—especially in the translations that are done by scholars—is that they’re very faithful to the content of the original language, but in English they don’t really sound that good as poems."

"The advice to any young poet is to embrace your freedom and not feel constrained to write in one particular way or only about one particular topic. If they’re Latino poets, I would encourage them not only to read widely, but also to read Latino poetry, to familiarize themselves with their particular tradition within American literature…"

"When you’re confronted with your community being rendered invisible to the culture-at-large, a mission as straightforward as nurturing and promoting your community’s storytellers can, in my view, be viewed as a form of activism. Another, if one works in a context like mine, is exposing one’s students to the work of your community’s poets and writers…"

"At the risk of over-generalizing, my sense is that American poetry, where popular culture is concerned, is a poetry of freedom and permission—that there are certainly poets who embrace it and have enjoyed success, from a publishing perspective, in embracing it…"

"I tried to capture the recollection of that experience. As if to say, you have these war-like, traumatic experiences and you retell them and retell them and each time you add something that wasn’t there the first time. The truth effect of that is that it just becomes larger and larger because your memory details are at work. The question then becomes: how many of those little embellishments—how many of those little nuances—can you add up before they tell a larger truth about the time that you were living in? That’s really the effect of writing a book, I think…"

"I used to sit on the stairs outside the courtroom and scratch out poems on legal pads while I was waiting for our cases to be called. There were juvenile hearings prior to the housing cases, and of course given their right to privacy we were not allowed inside the courtroom while that was going on. Everyone was in the hallway or on the stairs. I sat there. I didn’t have an office there, and I wrote poems. It was not as crazy as it might sound because whether I was working or am working as a lawyer or a poet, I am an advocate…"

"I think the joy of reading any book is that you enter where you can, like reading a poem. Sometimes we start off with a title or we enjoy a piece for its sonic effect, an image, or innovation. Reading a book is more or less the same process. At the start, you might be outside the experience, but the language is specific enough that it will draw you in, first with its music and then with its attempt at recollection…"

"I was born with a particular sensitivity to words. Some people are very good with math and sports… I wasn’t but I could feel words."

"I relished the fact that I was a fourth-generation Californian, but not looking like the stereotypical blond beach girl…I always felt like an outsider."

"I grew up reading a lot of young adult novels. And being an author and speaker and going into middle schools and high schools, I was seeing a lot of the same books that I read, and they followed a similar theme and that's a theme I like to call the three B's: It was always about barrios, borders or bodegas. And I wanted to present a different type of life — a life that truly goes on that we don't always see in the mainstream media."

"The most authentic me would, again, be the voice behind the short stories and poetry. The least “me” would be the script writer and the author of some magazine pieces I’ve written that have been, basically, paycheck pieces. After so many rewrites and editorial suggestions (i.e. changes) prompted by NY-based mainstream magazine editors whom I’ve never met, my voice definitely gets lost along the way."

"I understand that many people believe that writers write from their heart or from their soul. I write from the nagging pit of my gut, to make the stomachache go away."

"I remember Richard broke a wooden box to use one of the pieces as a ruler and he was trying to figure out how to best create the image of the eagle…He noticed the detailed work of the eagle on the American dollar bill and the one on the Mexican flag and he wanted something similar but nothing was coming out right. So, he created a simple black one that was still powerful in its own right. I never thought it would still be around today in its true and original form."

"… People say to do research; my research is reading and talking and listening to people. I've always found that to be very instructive for me. If it convinces the reader—and you were just very kind with all the things you just said; goodness, it was so affirmative! But that's what I want to do, convince the reader that the writer knows what he is talking about or presenting or showing, whether it's food or dress or motive, expression, just make it as realistic as possible. Not real but realistic."

"Whenever I’m to translate from Spanish to English, I always stop to think of the what but, just as importantly, of the how I’m going to translate what is said by the characters or what is in the narration. If I used an adage, an axiom, a proverb, a maxim, etc., there are always equivalents but as said previously, one mustn’t translate literally, word for word, because that doesn’t work. One has to analyze what is in the original to make the point with an equivalent adage or axiom; if there’s none, there must be something close to the original, and I’ll go with that. What one looks for is meaning…."

"I also got exposed to the poets that were being read at the colleges at that time. The only poetry I had remembered before that time were those horrible, long Longfellow-type things que nos hacían leer in high school [that they made us read in high school]. So I was turned off. But . . . one vato [guy] that I read was doing something that was exciting to me because he seemed to do it with a facility that I could relate to somehow . . . that was Walt Whitman. Me caiba su poesía [I dug his poetry] so I went with his trip for a long time. By then I was also starting to read T. S. Eliot, Ezra Pound and the Welshman Dylan Thomas. Y me fui prendiendo con esos vatos [and I got attached to those guys]. And the other vato that I really dug a lot around that same time was William Carlos Williams. I also thought he was getting away with something. And I thought all these guys were getting away with something I was being told not to do. Por eso los veía como rebels a ellos. [That's why I saw them as rebels.] How could they get away with it and I get put down for trying it."

"…I engage with poetry musically. I think I hear the music of the poem before I put words to it. The poem comes to me as it were a song more than a string of words or images. If I can’t transport that musical quality to the poem, then the poem doesn’t exist for me…”"

"…My house is my laboratory, set apart from the rest of the world, and when my son was small I spent most of my time there. I often wrote poems while doing housework. I always had pencils and paper throughout the house: in the laundry, in the dining room, in the kitchen…"

"When I began to write poetry, I knew I had found something so akin to music. Music and poetry are the oldest of human expressions-probably first music, then poetry. They complement each other and blend with each other to form a song. A song is powerful. It has the range of emotion music provides, and the power of ideas, images, memory associations, and speech governed by human intellect. Richard Wagner said something I found extraordinary. He said that the "reason for being of music is poetry." I wholeheartedly subscribe to that notion. At times, somewhere in my mind I hear the music of a poem long before the words come together."

"… I tend to over-research, but I don't mind. It is amazing how little we remember even about events and experiences of personal importance. The larger and deeper the well of knowledge, the easier it is for me to feel safe and secure in it, to be sure that I am as accurate and factual as possible, and to develop believable characters, who react in their own unique ways or betray what they're capable of as they deal with extraordinary situations or unusual experiences. But it isn't until I do the actual writing that I discover all of these aspects, including how much of the research is integral to the plot…"

"I was born in a small tropical town in the state of Veracruz, Mexico. There, people fostered both the creation and the performance of poetry and music, together with the art of storytelling. I was also fortunate to be a daughter of parents who believed in educating the two girls in the family equally well as their six sons. My father used to tell my sister and me that "When you educate a man, you educate an individual. But when you educate a woman, you educate the whole family."…"

"I write, in the main, about the U.S. side of the Rio Grande. That I include the Mexican side is natural and inevitable; that I don’t overload it, however, is because I want to present an American literature that was (historically) founded by the neighboring country as seen by its linguistic contribution. To have ignored Mexico would have been a blunder and to have larded it heavier, my work would not have been an American literature, it would have been something else; as to what, I don’t know, but Mexico, in some parts and in some ways, had to be included…"

"… In a way, the author is a writer's public persona. The writer, however, is a private person. Anyone who expresses life's experiences--their own or someone else's--in writing is a creative writer, and for him or her, the most important concern, the passion, is the writing itself…"

"…Borders, as everyone should know, are not geographical locations alone, they are made by humans, and some suffer while others live off their fellow men and women. The way some characters speak and explain themselves also reveals what social borders the characters have forged for themselves or how they have suffered because of borders, be they linguistic, cultural, social, racial, etc."

"What I’m most obsessed with is the tension between the private and the public self. In Cuba, we call it a “doble moraleja” but in reality, it’s more than that. It’s like people have two completely different realities. That’s very hard. Everyone says that it’s a political situation, but in reality it totally affects your life in every way. You start to become complicit in things that are quite terrible…"

"And as I groped in darkness and felt the pain of million, gradually, like day driving night across the continent, I saw dawn upon them like the sun a vision of a time when all men walk proudly through the earth and the bombs and missiles lie at the bottom of the ocean like the bones of dinosaurs buried under the shale of eras, and men strive with each other not for power or the accumulation of paper but in joy create for others the house, the poem, the game of athletic beauty."

"Raised in a working-class, immigrant family, I didn’t have access to poetry. I want to write poetry that my mother can read, or poetry that I would have loved as a little boy. I think of myself as a poet of the people. I argue against the idea that if a poem is accessible, it’s not complex. Accessible is not synonymous with simple."

"Memory, about the futile struggle to remember. It’s a eulogy to all the people who flee the terrible conditions in their home countries, desperately hoping for a better life here, and never make it."

"Revise, revise, revise—a poem is never done. That’s the mantra ingrained in most of us. While, of course, I do believe revision is key, I also believe there are other notions to consider. I’ve found that revision for the sole sake of revision is usually a waste of time. I don’t revise unless I am inspired to revise with some direction…"

"I really didn't end up coming out until much later in life ... and what really fascinated me as a writer and as an investigator is, how does that happen? How is it that moment by moment the next notch of courage, the next notch of self-understanding — even though you know you're gay at 12, 13, 14 [years old], those words can't even enter your mind. You can't even have the vocabulary; you don't say "Gee, I think I'm gay." No, it doesn't happen that way…"

"In poetry, my grandmother is much more vicious and hurtful…In the book, she comes across as this likable character. And she was! She was always the life of the party, a fun-loving person. ... In the poetry my mother is more of a martyr, always suffering from leaving her whole family in Cuba. But in the book she’s like this control freak, like this warden of the house. I realized that was her psychological response to the loss she had experienced: She wanted to control life. She couldn’t tolerate one more loss in her life.”"

"I want to turn metrophobes (people with a fear of poetry) into metromaniacs. I think the fear goes back to the way poetry is taught. I think we should approach poetry more like music or art. Instead, it’s shrouded in mystery. Like anything new that you try, you start and fail and then improve. You have to keep practicing. Creating can be a wonderful space, but it can be terrifying, and you just have to accept it and dive in. Eventually, you get into the flow, and it gets a little easier."

"For the most part, I don’t know where a poem will lead, but I’ll have a sense of the theme or texture to start with. It can be an image, a quote, or a memory, and I’ll slowly start seeing what develops on the page. Typically, when I start holding strongly to an idea, it doesn’t turn out well because there’s no discovery. Finding the structure is like tuning an instrument until you hear the right note. And with free verse, every poem has to find its own internal logic and structure. You figure that out during the process."

"Cuba is at the heart of my fiction, even when it’s just an echo, like in “Kimberle.” I don’t think a day goes by that I don’t remember in some conscious way that I’m Cuban. But my relationship with Cuba changes as time goes by, not just because of changes in Cuba but because of changes in my own life. When my son was born almost six years ago, it totally altered everything. For example, instead of going to Cuba, I spent a great deal more time in Miami, because that’s where my mom lived, and I really wanted my son and my mom to have a relationship…"

"I would first need to acknowledge that the mere act of creating something that questions the world and one’s life in it, that exercises one’s imagination, or that even pens something simply for the sake of beauty, is a kind of politics because it is determined to create awareness of some kind in some context…"

"One of the real gifts of the inauguration was realizing that my story, my mother’s story, the immigrant story, the gay story, that really they’re an authentic piece of the American story…Until the honor of being asked to speak for my country, I wasn’t quite American yet. I wasn’t Peter Brady. America felt like this other place. ... but I realized: This is my country. This is where I belong. This is as valid to me as a gay man, as a Cuban man, as it is for anybody else in America. I think it’s going to change my art and make me write about the other ways I can claim America."

"I make reference in my writing to many of the Afro-Cuban deities and superstitions that migrated into Catholicism in the Caribbean from the West African religious practices of Yoruba. This resulted in a more fatalistic and mythological "brand" of Catholicism that holds a blurrier line between the living and the dead, between the "here" and the "after." This spiritual stance I think is reflected in many of my characters…"

"What’s more, I realized that I had an artistic duty and an emotional right to speak to, for, and about millions like myself from all walks of life who felt as marginalized as I did, given the various sociopolitical issues that historically and presently haunt America. All this unearthing culminated in the new collection, How to Love a Country, which indeed focuses on the intersectionality between the private and public self, the personal and political posture, and the individual and the collective identity of nationhood…"

"I think we are all gifted as children, but we aren’t gifted with the same gifts. In crowded, poor schools, an overwhelmed teacher can’t always help us discover what our gifts are. I am grateful my mom was a frustrated artist. At home we drew murals, created puppet shows, had craft hours, went to the library, visited museums. I’m certain without my mom, I wouldn’t have been an artist today."

"It’s memorable because it makes you either laugh or cry. If a story’s really good, it does both. Sometimes it’s not the story’s fault if it doesn’t stay with you, because you’re too old or too young for it. I feel that, in the Native American sense, the story cycles; there are different times of your life that a story may come to you. You don’t remember it, and then you hear. it again or read it again later in your life, and because of what’s happened in your life it’s distinct from the first time you heard it."

"If I had to speak about anything that was difficult in my life now looking back at it, I would say the most difficult part was how the world made you feel about being poor, about being a girl. And, later, how painful it was navigating the world as a young woman. A lot of times I found myself in disastrous situations because I was such an innocent/idiot. It left me damaged as a human being for decades. I think having been beautiful was a cross, and I’m grateful I’m no longer young and no longer beautiful in that same way."

"I think my work still has a distinctive voice that is uniquely mine—and that voice is one of a person speaking Spanish in English. By that I mean that I write with the syntax and sensibility of Spanish, even when there isn’t a syllable of Spanish present. It’s engrained in the way I look at the world, and the way I construct sentences and stories. I was not aware of this when I wrote House, but I’m conscious of it now. What remains the same? Well, I am still as astonished by the world and as intuitive/foolish as ever, but I am aware that this is a good thing, and not ashamed of it as I was when I was young. The difference now is that I know myself. I think my writing is wiser, and, I hope, more complex."

"Sandra Cisneros's stories are pure poetry."

"Texts like the poetry of Sandra Cisneros were a lifeline. Here was a Mexican girl from Chicago who'd become a writer and traveled alone through Europe."

"All poets would do well to follow the example of Sandra Cisneros, who takes no prisoners and has not made a single compromise in her language."

"Sandra Cisneros…has done so much to help other writers…There had been some earlier Chicano works, like Pocho, a novel that came out in 1959. But none of these earlier works really made an impact that showed that there was a great demand for Chicano literature. I think Sandra Cisneros made inroads there…Sandra wasn't the earliest Chicana writer either. But she was the one who stimulated the interest in Chicano and Chicana writing."

"A further measure of the importance of the feminism of women of color was the tremendous efflorescence in their fiction. The writings of Toni Morrison, Sandra Cisneros, Amy Tan, and Louise Erdrich, among others, played a major role in bringing the feminist message and perspective to the masses of American women."

"Sandra Cisneros has a gift and an attitude we should all be grateful for."

"A sensitive, compassionate witness, Cisneros re-creates the neighborhood in which she grew up, evoking the smells and tastes and feelings. The effects of sexism, poverty, racism, and the loss of culture and language are told with searing simplicity…Cisneros's telling is relentless, clear in its simplicity. Her anger is palpable, but no words of anger are actually written. Experiences about race and class and sex are put into word pictures. The entrapment of women is drawn in big, thick lines across the page. Sobreviviendo, bearing witness, out of love, so that what has been (and still is) will not be erased. The stories are pieced together like a quilt, arranged so that women can see how it is and has been, can see the lines of connection between themselves as women, as Chicanas, as poor people in the barrio, can think about how they might want it to be, how they could get there. That Cisneros, like Alice Walker and Gwendolyn Brooks, chose to piece her stories like a quilt speaks to the significance of the quilting process as a way of thinking. "Each day is a tapestry," Deena Metzger has written, the piecing a reflection of the structure of daily life."

"Sandra Cisneros is one of the most brilliant of today's young writers. Her work is sensitive, alert, nuanceful. It is rich with music and picture.""