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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
Really
Images
Storyline
Things
Narrative
Shifted
People
Master
Tenacity
Masters
Imagery
Media
Thin
War
Vietnam
Cong
Also
Controlled
Viet
Much
Extent
Radicalized

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I had parents who were attentive to what was going on politically. There was the Greek connection, a sense of a larger world. People coming in from abroad. There was a sense of community around ideas: a discourse and an adhesiveness which is my favorite word from [Walt] Whitman.
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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 was raised with a sense of democratic vistas and egalitarianism.
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I am a self-appointed ambassador for poetry.
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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 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 have students whose fathers are voting for Sarah Palin. It's wild.
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My older brother was involved in the folk movement. We would gather every weekend in Washington Park. The folk songs were so important to my reality.
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[Jack] Kerouac looking at the fellaheen worlds. Looking at other cultures. Welcoming it, curious. Really stepping outside his own limited, whatever that narrow world was. It's amazing to think we can do it. We can have that same kind of trajectory of mind.
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Idea that all the beats are wildly liberal and progressive is ridiculous. You have people thinking for themselves and having certain affinities because of their upbringing and who their family are, their own people who were close to them who fought in these wars and so on. It's complicated. But they had that ability to continue the conversation.
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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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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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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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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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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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Personally there is first: imagination second: the act of writing - and third: the act/act of vocalizing.
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My father shared the ethos of many of the beat writers and was a friend of Allen Ginsberg. Probably for 25 years of my father's life, He had been an itinerant piano player and so traveled the road with bands and that sort of thing.
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My teachers were often very eccentric.
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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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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.
Anne Waldman