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Translation makes me look at how a poem is put together in a different way, without the personal investment of the poem I'm writing myself, but equally closely technically.
Translation is an interestingly different way to be involved both with poetry and with the language that I've found myself living in much of the time. I think the two feed each other.
There is something very satisfactory about being in the middle of something.
There is a way in which all writing is connected. In a second language, for example, a workshop can liberate the students' use of the vocabulary they're acquiring.
The woman poet must be either a sexless, reclusive eccentric, with nothing to say specifically to women, or a brilliant, tragic, tortured suicide.
The pull between sound and syntax creates a kind of musical tension in the language that interests me.
The pleasure that I take in writing gets me interested in writing a poem. It's not a statement about what I think anybody else should be doing. For me, it's an interesting tension between interior and exterior.
The phenomenon of university creative writing programs doesn't exist in France. The whole idea is regarded as a novelty, or an oddity.
The ambiguities of language, both in terms of vocabulary and syntax, are fascinating: how important connotation is, what is lost and what is gained in the linguistic transition.
Poetry seems to have been eliminated as a literary genre, and installed instead, as a kind of spiritual aerobic exercise - nobody need read it, but anybody can do it.
Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
Paris is a wonderful city. I can't say I belong to an especially anglophone community.
Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
Dont Trust Nobody
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