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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.

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Public
Grey
War
Post
School
Posts
Going
Village
Years
Extraordinary
World
Parents
Greenwich
Environment
Bohemian
Parent
Manhattan

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The whole red state/blue state thing is very interesting. Watching that shift over the years.
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I am a self-appointed ambassador for poetry.
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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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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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Connection to Buddhism is strand in my life.
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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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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 get very upset when money is being cut and people can't visit the Grand Canyon.
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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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Any technology is just a skillful means and it's how you use it.
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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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[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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World War II synchronizes things for a lot of people. There's a kind of wakeup call.
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I have students whose fathers are voting for Sarah Palin. It's wild.
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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.'
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I was not ever hitchhiking alone. I've done solo train trips but I've never driven myself alone.
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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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If I smashed the traditions it was because I knew no traditions. I'm the girl with the unquenchable thirst.
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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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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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