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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.

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Remember
South
America
City
Lineage
People
Coming
Earthquake
Cities
Similarly
Went
Earthquakes
Sense
Mexico
Felt
Caught
Part
India

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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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My father was a frustrated writer. I think he wanted to write the great American novel.
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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'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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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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There's a numbness in our culture to the continuing horrors of genocide.
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We need a world-wide Department of Peace.
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What I'm after is that wakeful state through language that stays alive.
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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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How can you work on letting your thoughts go and getting synchronized into the moment and questioning your wild imagination. But I say just think of all the great Japanese and Chinese poets and scholars who were also meditators.
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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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Allen's [Gisberg] loyalty to his friends was extraordinary. And as he was dying he was calling people: What can I do for you before I die? Do you need money? What can I do?.
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My love of poetry comes from the actualization I experienced in the poetry of others. And I was reading it silently and there is deep pleasure in that intimacy, a mind-to-mind transfer going on. All the music is there, inherently. And mystery as well.
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Obviously, if I'm reading in Vienna or Venezuela or Italy, there's the issue of language, and I will make choices that are more sound oriented. Or I'll try to incorporate those languages and occasions somehow.
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I'd like to invoke the Native American Navajo because their word for road is used as a verb. Their whole relationship to road has to do with how you travel it, who you are traveling it with, what the environment might be, where you're headed, in what direction, the weather and so on.
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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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I am a self-appointed ambassador for poetry.
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I have students whose fathers are voting for Sarah Palin. It's wild.
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My mother actually left American in 1929 to be part of an alternative community of bohemians around her then father-in-law who was a well-known Greek poet. This group of people were living in this semi-Luddite reality and weaving their own clothes - proto-hippies in a way- -but around an artistic vision.
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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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