... how have I used rivers, how have I used wars
to escape writing of the worst thing of all--
not the crimes of other, not even our own death,
but the failure to want our freedom passionately enough
so that blighted elms, sick rivers, massacres would seem
mere emblems of that desecration of ourselves?
I think my work comes out of both an intense desire for connection and what it means to feel isolated. There's always going to be a kind of tidal movement back and forth between the two.
The channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle.
In [family snapshots] the flow of profane time has been stopped and a sacred interval of self-conscious revelation has been cut from it by the edge of the picture frame and the light of the sun or the flash.
The vixen I met at twilight on Route 5 south of Willoughby: long dead. She was an omen to me, surviving, herding her cubs in the silvery bend of the road in nineteen sixty-five.