Gay Poets

"Already in October at the same time as my course with Stockhausen I will have to learn 2 African languages. Probably around January I will go to South Africa to study African music. This project is terribly important for me because for me to spend one year at the sources of music and to understand the fundamental reasons for music is terribly important, essential to the formation of a composer."

"Since it had never truly fit, why wear The shoe of prose? In verse the feet went bare."

"Always that same old story— Father Time and Mother Earth, A marriage on the rocks."

"The whole point of art, for me, is to give us tools to explore feelings or situations or dilemmas that defeat our other ways of making meaning. When a situation is so vertiginous, so ethically complex, so emotionally fraught, that I feel like I’m staring into an abyss—that’s when I feel moved to make art, when I feel I need the peculiar tools of fiction to figure out what I think. I mean, to inhabit my bewilderment. I think art is the realm in which we can give full rein to the ambiguity, uncertainty, and doubt that we often feel we have to suppress in other kinds of expression—in our political speech, say. I think an ability to dwell in ambiguity, uncertainty, and doubt is a central virtue of humanness. I think it’s crucial to any thinking that might adequately capture the complexity of reality."

"…for me the great human virtue is promiscuity, the fact that we love mixture, that we are excited by collisions between cultures, languages, traditions. This is why I’m so disgusted by the rejection of this virtue by nationalists of various stripes—and also why I’m resistant to “stay in your lane” condemnations of “cultural appropriation.” Of course, encounters with the other are fraught with peril and—like any ethically meaningful human endeavor—inherently “problematic.” Of course, we need to be mindful and reverent as we attempt to reach across borders of various kinds. But any attempt to build walls—between bodies, between cultural traditions, between languages and aesthetics—is abhorrent to me."

"I really do think of prose as writing sentences. I never think to myself “I’m writing a novel”. Not until I’m very deep into a project do I even think “I’m writing a book”. The kind of sentence I’m attracted to is a kind of navigating device where the sentence itself is moving me through the world and is the tool by which I am able to feel out a territory or a set of concerns."

"…There’s a way in which I hope the nine chapters are like spheres of intensity that are placed in a relationship that is not the consequence of plot or the linearity of chronology, but is instead a kind of constellation, that there are charged relationships between them that is like a key change, or a mood, or an echo, or a motif. That may sound pretentious, but I think there’s a place for pretentiousness in art."

"A metaphor is a sign of desperation when we need another world to describe what we are feeling. Metaphors are about desperation and safety. We call out to metaphor because a metaphor makes us feel safe."

"What happens at the beginning of your poem has to—because it’s a poem—be transformed by the end of your poem. So if the triggering moment for the beginning of your poem is a known political moment, I am fine with that, that’s great. But as I’m reading, I expect it to change because that was just the trigger…"

"It is the hardest thing to take chaos and make order of it. Poetry is a veil in front of a heart beating at a very fast pace."

"A poem should go beyond what you already know, and if it’s going to go beyond what you already know, a poem might say something that begins to have you question what side you’re on, which, in turn, might begin to have an audience question what side you’re on…"

"take Jericho Brown, telling too much necessary truth in all his work, but especially "Bullet Points," on the violence black men and women experience at the hands of cops. "I promise that if you hear/Of me dead anywhere near / A cop, then that cop killed me." I heard Jericho read this live and found myself on the edge of my seat, my fingers curled into tight, sweaty fists as I tried to absorb the pain wrapped in the intense beauty of his words."

"I’m obsessed with manhood as a brutal and artful performance. My mind always finds its way back to the crossroad where sex, race, and power collide. Journeys, transformation, as well as dashed attempts to transform, fascinate me as well."

"Something you see in the book is my tendency to self-bully. It started when I was a gay black kid growing up in the suburbs. I wasn’t bullied by individuals; kids weren’t shoving me into lockers or calling me slurs to my face. Shame—electrified by racism and homophobia—was enforced by the broader culture though, and in response, I started bullying myself. I started saying cruel things about myself to myself. While I’ve generally grown out of self-hate, an ease with being tough and candid about myself to myself is an integral aspect of my writing…"

"Being gay isn't a choice, just like being black isn't a choice…I don't stop. I do not give up. I do not take America's 'no' to my identity for an answer."

"If you look at the poems in Prelude, you can identify the later material by identifying the poems with more white space and unexpected line breaks. Grief did that to me and my writing. It exploded my expectations and introduced these blank pockets of deep feeling. My prose writing became more fluid and lyrical…"

"I think fiction is the thing you invent to fit the shape of what you learned and nonfiction is the thing you invent to fit the shape of what you found or maybe even what you can’t run away from…"

"There is a difference. I will write an essay without quite knowing where it’s going to go. But also with an essay, I’m kind of communicating with who I used to be or really searching for that person. There’s different tricks that I come to to help with remembering some of those things. Sometimes I look at my old writing to see what I was trying to do and what can be recuperated. But I also look at my book. My books are ways of remembering my life as well. The book is a memory of a particular time when I bought or read it. I think it’s why it’s so hard for people to combine libraries when they get together with someone. It’s like, your personal library becomes this unconscious portrait of your intellectual history."

"I did something with my first novel that I think a lot of debut novelists do, which is they act as if it was a freak accident that they wrote it. They sort of disown it or whatever. When they’re like, well, you know, I don’t really know I did that, even though they worked for years to get the book done, get the book out. All of that. They don’t claim the victory. It somehow feels obnoxious to them or that they’re being a dick, or whatever sort of class background they come from doesn’t allow them to have that celebration or who knows…"

"There’s some way of thinking about how the body can be articulate that translates into how you tell stories on the page. I don’t know if it goes the other way. I’d love it if it did. The body is the instrument for the essayist in particular. It’s the instrument by which the events are recorded; it’s the instrument on which the events are replayed. It’s a very complicated, interdimensional relationship we have with our bodies when we’re nonfiction writers."

"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."

"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."

"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."

"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.”"

"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 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…"

"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 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…"

"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 will be reading the poetry and I will read it aloud because I will be, you know, whispering the poetry, because poetry, I really believe, has to do with a sense of communicating and the idea of reading the poem, giving life to the poem, is important, and so the old tradition is very important."

"The (Chicano) movement to me is now like a mosaic with all these little pieces. The little pieces are the ones that are now being activated so that a poet like Lorna Dee Cervantes is her own little miniature movement. Francisco Alarcón, Norma Alarcón, José Limón, all the people who are writing are carrying out the struggle against domination and subordination in the kinds of things they focus on-language, folklore, just anything."

"I believe that I became a poet, a writer, when I was transcribing my grandma's songs in Mexico. I was about 15 years old. And my grandma used to sing with the mandolin a beautiful song that she used to play, and I thought at that point that she was basically singing from the old tradition of Mexico. But then I became aware that those were her own songs, but she had never written down the songs herself. So I decided to then transcribe the songs, and I would listen to her, and then write down the songs. They were very beautiful songs, in the Hispanic tradition of Guatecos and the ballads and so forth."

"Imagine, you know, if I did not have access to the memories of my grandma or to my grandfather. If I could not talk to my uncles in Spanish, I would be very poor as a person."

"For me, a poem is not about ideas. It's never an idea that I have. It's basically an image or a sense, mostly images, that have to do with the senses, and so the five senses, and then from the image, then, you know, I have to write it down. And so, once I start writing, it's almost automatic, you know, the next line follows. It's not planning, I don't plan collections of poetry."

"I am a bird from mountains you don't know. My throat feels itchy—so I start to chirp when sings the morning wind among the leaves, when dreams the moon at midnight in the blue. Perched on a branch, the bird longs for its brook— it will break into song and not know why. Its ditties cannot make the fruits grow ripe; its carols cannot help the flowers bloom. It's profitless to sing, and yet the bird will burst its throat and heart to sing its best."

"Love is just a little bit of death in the heart, For how often can one love in certainty that love will be returned? Giving so much love, and receiving so little of it; Because people are fickle, or indifferent? Who knows? During moments together as in hours apart, I'm mindful that the moon fades, flowers wither, souls pass away... They wander lost in the somber darkness of sorrow, Those fools who follow the footprints of love. Because life is an endless desert, And love is an entangling web. Love is just a little bit of death in the heart."

"But alas, I'm going to die! I'm a chap who...clings to life with the fingernails of both hands. One who drinks of love till it overflows his lips, But alas, I'm going to die... The other night I sat alone in agony, Listening to the hours pass, wracked with sorrow... I have arrived to face the cold border of nihility."

"To be a poet is to be lulled by the wind, To follow the moon in dreams, and drift with the clouds."

"At break of day I feel as if I'm clasping a bouquet of smiling flowers But the wind of time does not cease blowing And the hours wilt like falling petals."

"Non exprimis, aliquis inquit, Ciceronem. Quid tum? Non enim sum Cicero; me tamen, ut opinor, exprimo."

"To understand , Boccaccio, Petrarch, and Politian are just as valuable as and Sismondi."

"I am a miser of my memories of you"

"The core and the surface Are essentially the same Words making them seem different Only to express appearance. If name be needed, wonder names them both: From wonder into wonder existence opens."

"A man who knows how little he knows is well, a man who knows how much he knows is sick."

"If you have to do something, write me a funny AIDS play. Sure you can. It's the biggest joke played on us since sex itself - and with the longest punch line."

"You're right, you're always right, yes, yes, of course. Love will survive. They couldn't kill it with purple hair-do's, they can't kill it with a plague. Boys will fall in love with each other's earlobes if all else should fail. Because it never really was about sex, was it? It was about love."

"It's my party and I'll die if I want to!"

"Must one go through the five official stages? What are those five stages again: "anger, denial, bargaining, depression, and acceptance." Well, back up: here comes my acceptance speech. "I am now, and I have always been a flaming faggot, responsible for style in its every manifestation. I have my own five steps: flippancy, sentimentality, sarcasm, camp, and smut. They've got me through life, and deity dammit, they'll get me through death!""

"When I was just a little girl in East Bay, California, I noticed that East Bay was pig Latin for “beast.” But I knew I had found my niche when I realized that Alice Faye was pig Latin for "phallus.""