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We had much more imagery from Vietnam war. The media was not controlled. The storyline, the master narrative was not controlled. I thin it was some those images really radicalized people and shifted things to some extent. And the Viet Cong also, their tenacity.

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Also
Controlled
Viet
Much
Extent
Radicalized
Really
Images
Storyline
Things
Narrative
Shifted
People
Master
Tenacity
Masters
Imagery
Media
Thin
War
Vietnam
Cong

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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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My teachers were often very eccentric.
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How infuriating it is to be continually born to war that continues one's whole lifetime, even as one protests it - what futility. It is perhaps a more public epic in this regard, and carries a ritual vocalization.
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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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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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I think of the amazing things that were going on. So it's so rich. The doors keep opening.
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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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For me the road became a zone, in places like Saint Marks poetry Project where I worked for 12 years.
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What I propose for the life of a poet goes against the grain of the fossil fuel monoculture. Maybe the most revolutionary act these days is not to watch television and to read a book a day at least.
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We still have our larynx, we still have our minds and we still have our consciousness. We still have this gift to make things with words and images and get outside these preordained tropes and ways of thinking and the master narratives - what's handed to us.
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A lot of my life has involved with helping create cultures that have as their basis this vision of the sharing, the partaking of a certain ethos together.
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The dichotomies, the brokenness of the culture around things like the Vietnam war, and then a lot of it has to do with war and where we put our energy and money and attention. And the military industrial complex, which dominates our whole economy. Even with the vision of democracy in other places we know the dark side.
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The sense of the preciousness of the body - vehicle for poetry.
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My last bedside conversation in the hospital just a few weeks before Allen Ginsberg died was 'please take care of so and so. And the legacy of the Kerouac school.
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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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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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I am a poet, bard, scop, minnesinger, trobairitz who is driven by sound and the possibilities for vocal expression, the mouthing of text as well as intentionality or dance on the page.
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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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