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I grew up in New York City in Greenwich Village and had parents who were somewhat bohemian so I was always on the nonconformist side of the equation.

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Sides
Village
Always
York
City
Greenwich
Parents
Nonconformist
Grew
Bohemian
Cities
Equation
Side
Equations
Parent
Somewhat

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Myths, by their definition, involve transformations, struggles through various worlds or layers of reality and of obscuration.
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We humans need to do better with our vast minds and alchemical powers. Future radial poetries might be more symbiotic with the rest of consciousness.
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Any technology is just a skillful means and it's how you use it.
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For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.
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You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.
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I had a student some years ago whose father had worked on the Manhattan Project. I had a student who had to escape this very intense, born-again fundamentalist Christian background that was very much like a cult and of course they struggle to get to Naropa. And they have cut themselves off. They don't look back.
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My mother started taking us to church when I was in seventh or eight grade. That was always a question, Do you believe in God?
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The sense of the preciousness of the body - vehicle for poetry.
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Literal thousands of Americans taking to the road and getting into that green automobile and just going. At the same time there is real incredible work [of art] that comes out of it. Never forget that.
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I have students whose fathers are voting for Sarah Palin. It's wild.
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The sense of traveling this continent, also other continents. The friendship.I would say a non-competitive friendship. That is so amazing to me.
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I'm curious about other universes, and nonhuman elementals. For me it's still a very lively ethos. It's a kind of practice. It's an ethos that is very sustaining.
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Personally there is first: imagination second: the act of writing - and third: the act/act of vocalizing.
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I think anything that gets people outside [is good] - I'm a big supporter of public parks and public spaces.
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As a woman I have felt encouraged and fed by and nurtured by the work of [Jack] Kerouac and others.
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I took my vow to poetry this is where I'm going to be. These are my people this is my tribe. This is where I'm going to put my energy.
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I was going to public school in the post-World War II, the grey doldrum years. But I was in this extraordinary environment of Manhattan, of Greenwich Village, of bohemian parents.
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The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
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My mother actually left American in 1929 to be part of an alternative community of bohemians around her then father-in-law who was a well-known Greek poet. This group of people were living in this semi-Luddite reality and weaving their own clothes - proto-hippies in a way- -but around an artistic vision.
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We pride ourselves at Natrona - I mean, pride {ironically] - on developing a noncompetitive community. That's very important. The values that can come from that kind of meditative work combined with the creative work you do, combined with your activism, can come together.
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