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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.
Robert Morgan
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One of the most powerful devices of poetry is the use of distortions. You can go from talking about the way a minute passes to the way a century passes, or a lifetime.
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One of the most powerful devices is to distort time, to go from human time to atomic time, geologic time. Sometimes you can actually accomplish that, with one unexpected word choice.
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One of the biggest changes that ever occurred in my life was going from the isolation of working part-time as a house painter in Henderson County, to Cornell, where everybody was a literary person.
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Neither of my parents has been very sensitive about my writing.
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Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.
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It was less a literary thing than a linguistic, philosophical preoccupation... discovering how far you can go with language to create immediate, elementary experience. Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.
Robert Morgan
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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.
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In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
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In the best fiction, the language itself can become almost invisible.
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If people associate me with a region, that's fine with me.
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If a poem is not memorable, there's probably something wrong. One of the problems of free verse is that much of the free verse poetry is not memorable.
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I think that it's more likely that in my 60s and 70s I will be writing poetry rather than fiction.
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