Quote

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?

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Mother
Seventh
Believe
Grade
Always
Grades
Eight
Taking
Question
Started
Church

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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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I think anything that gets people outside [is good] - I'm a big supporter of public parks and public spaces.
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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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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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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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I think of my father born in this very small, limited situation and then coming out of that. Many people have this story.
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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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Contemporary movies just drive me crazy. The violence and the sentimentality and the spiritual materialism and Theism and the incredible indulgence in ignorance is so claustrophobic.
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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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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 self-appointed ambassador for poetry.
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The sense of the preciousness of the body - vehicle for poetry.
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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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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 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.
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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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World War II synchronizes things for a lot of people. There's a kind of wakeup call.
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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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