The dialectic between change and continuity is a painful but deeply instructive one, in personal life as in the life of a people.To "see the light" too often has meant rejecting the treasures found in darkness.
What I discerned in the U.S. was a convergence of poetic voices coming from many different rents in the social fabric, many cultures, many tributaries, which, together, make up the American poetry of the late twentieth century.
Can individual psychic wounds really heal in an abusive and fragmented society? Audre Lorde has a poem which begins, "What do we want from each other/ after we have told our stories?" Where do we go to explore our stake with others in such a society?
Increasingly I think of poetry as a theatre of voices, not as coming from a single "I" or from any one position. I want to imagine voices different from my own.
There's been real hostility toward political poetry in the U.S., hostility or, at best, incomprehension. I'm speaking of those who have institutional power over what gets published, over grants andprizes and reviewing. Most of them, though not all, arewhite and male. But even as American society is unravelling, becoming more violent and punitive, wonderful political poetshave been emerging.
When someone with the authority of a teacher describes the world and you’re not in it, there’s a moment of psychic disequilibrium, as if you looked into a mirror and saw nothing.
White hate crimes, white hate speech. I still try to claim I wasn't brought up to hate. But hate isn't the half of it. I grew up in the vast encircling presumption of whiteness - that primary quality of being which knows itself, its passions, only against an otherness that has to be dehumanized. I grew up in white silence that was utterly obsessional. Race was the theme whatever the topic.
You have to give your art everything you can - I don't mean only writing, but studying other poets and poetics, thinking, reading what poets have written other than their poetry.