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The whole red state/blue state thing is very interesting. Watching that shift over the years.

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Whole
Thing
Shift
Years
Red
Watching
Blue
State
Interesting
States

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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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For me poems are acts re-done, and that can vibrate well into the future.
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There's a numbness in our culture to the continuing horrors of genocide.
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I was raised with a sense of democratic vistas and egalitarianism.
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I don't demonize the downside. As we've seen in Egypt and Tahrir square and other recent event, the adhesiveness through [technology] kinds of communication is extraordinary. Interesting times we live in.
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I'm concerned about the overuse of spectacular places. And there's no real wilderness left and so there's a heartbreak there. You can go anywhere and be rescued through your cell phone and have some helicopter drop down.
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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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Any technology is just a skillful means and it's how you use it.
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The formal stuff feels old and windy. Not to say you shouldn't know prosody. But it's a wonderful time for exploratory poetics. Contemporary poets are inventing all kinds of wild, complex shapes for poetry, as we see. It's a wonderful time, less ego-centered.
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I invoke that sense of the particulars of that kind of literal travel and what that has meant historically in terms of diasporas, in terms of the migrations of immigrants coming to this [U.S.] country with a real vision of finding the promised land.
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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.
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My father was a frustrated writer. I think he wanted to write the great American novel.
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I remember being caught in this earthquake in Mexico City and having a sense of people coming before me, of being part of this lineage. I felt similarly when I went to India and South America.
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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 teachers were often very eccentric.
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When I got back to NY had the opportunity to work with the beginning years of the poetry project which was founded with money from the OEO under Lyndon Johnson to work with alienated youth on the lower East side. This was extraordinary, to be able to help then to create a culture that would capture the energy that I felt at Berkley.
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The color red is symbolic of passion and action, so this Vajrayogini, as she's called, comes with a mantra and she comes with these various weapons and accouterments that are all symbolic of the kind of activity that this principle, as it were, this psychological principle, does or activates in the world. And there's text and mantra as well.
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I hope I'm not implying role of contemporary poet for myself, although there's a kind of resonant paradigm. It's traditionally a difficult role.
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A lot of my father's generation were thinking about communism and had deep liberal and progressive connections. He never admitted whether he was a card-carrying communist party member but I think its possible.
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When I look at my life there are these streams, these things that have continuity from the fifties to now.
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