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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.

Anne Waldman

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Anne Waldman
Age: 79
Born: 1945
Born: April 2
Poet
Writer
Millville
New Jersey
Moment
Poets
Moments
Letting
Also
Chinese
Meditators
Great
Wild
Synchronized
Work
Poet
Scholars
Think
Thoughts
Japanese
Thinking
Imagination
Questioning
Getting
Scholar

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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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We can think for ourselves and we can awaken the world to a greater consciousness.
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My teachers were often very eccentric.
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There's a numbness in our culture to the continuing horrors of genocide.
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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 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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World War II synchronizes things for a lot of people. There's a kind of wakeup call.
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My father was a frustrated writer. I think he wanted to write the great American novel.
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The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
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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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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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You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.
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A lot of my father's generation were thinking about communism and had deep liberal and progressive connections. He never admitted whether he was a card-carrying communist party member but I think its possible.
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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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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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The music is notated first, the text follows. I might have to wait until the right kind of text or form arises. I often see the poems as “scores.”
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What I'm after is that wakeful state through language that stays alive.
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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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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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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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