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I think for me in terms of this kind of dichotomy you have to hold the sense of negative capability in your mind - which is Keats line about being able to hold two different ideas 'without any irritable reach after fact or reason.'

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Think
Two
Terms
Thinking
Able
Line
Ideas
Hold
Irritable
Reason
Lines
Keats
Without
Term
Dichotomy
Different
Fact
Capability
Kind
Sense
Reach
Mind
Facts
Negative

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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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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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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 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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I have students whose fathers are voting for Sarah Palin. It's wild.
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Growing up in the fifties, having to wear a dog tag, having to take shelter in a bomb shelter. That turned me toward the road, I did not want to live in fear of that, I was gong to work somehow against what that vision was, and what that horror was. It was poetry, art, music.
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I get very upset when money is being cut and people can't visit the Grand Canyon.
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World War II synchronizes things for a lot of people. There's a kind of wakeup call.
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This will be a good time for poetry, you know, when things get darker and stranger and your very speech is being questioned and the sense of trusting that human thing.
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Connection to Buddhism is strand in my life.
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There's a kind of training, when you are sitting in a session in the Japanese tradition or any of the Buddhist traditions, taking your lotus posture or whatever it is. That's what you're doing.
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There are energies that reside in each phone and phoneme. And we can release them.
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My teachers were often very eccentric.
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Your compassion travels beyond your own inner circle. And then you breathe out an alternative version where you mentally and emotionally and psychologically purify the poisons. So indeed, the generative idea is in the crux of this practice and of my propensity toward poetry, which is a practice of the imagination.
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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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What I'm after is that wakeful state through language that stays alive.
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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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The beat literary movement is strong because of those very challenging and individual relationships and styles and contention and so on. So I just feel blessed by this kind of opportunity that came from it. It was a kind of seed.
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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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It's so rich as a trope - the whole idea of the road and it being in terms of language, being an active experience.
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