<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><!--StartFragment--><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Dear All,</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">First a quick note that Marjorie Perloff of Stanford
University will deliver the keynote address, “The Audacity of Hope: Futurist
Aura and National Difference in the Early Manifestos,” at 5 p.m. on November 13 (today) in the Beinecke Library as part
of the Futurism Conference .</span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">I will soon post the minutes from last Friday’s discussion
with our visitor, the poet Peter Gizzi.
In the meantime, I wanted to circulate word of our next session, which
will be Friday, December 4, from 3-5 in our usual room (Whitney Humanities
Center, rm. 116). The session will
be devoted to discussion about Transcendental Studies, the latest collection of
poems by Keith Waldrop and a current finalist for a National Book Award. Professor Waldrop will join out
discussion in January. </span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">For this upcoming session, we will be joined by renowned French
translator and American literature scholar Olivier Brossard. Brossard has
translated Waldrop into French and he will help guide and direct our
conversation and discuss his prolonged engagement with Waldrop’s poetry and
poetics.</span></font></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Here is Brossard’s bio (with a link to his faulty page)</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal" style="margin-bottom:13.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Olivier Brossard is
associate professor (American literature and poetry) at the University of Paris
Est (Marne-La-Vallée). He wrote his PhD dissertation on “Lyricism in Frank
O’Hara’s poetry” (University of Paris 7, 2006) which he is currently rewriting
in English for a book to come out with Dalkey Archive Press. He most recently
wrote articles on the poetry of Frank O’Hara and Peter Gizzi.</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></p><p class="MsoNormal" style="margin-bottom:13.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">In 2000, with the
help of Vincent Broqua and friends, he started the Double Change collective (an
online magazine at </span></font><a href="http://www.doublechange.com/"><span style="color:#0017F7"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">www.doublechange.com</span></font></span></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> and a reading series in
Paris </span></font><a href="http://www.doublechange.org/"><span style="color:#0017F7"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">www.doublechange.org</span></font></span></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">).
With Eric Athenot, he edited </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Walt Whitman hom(m)age 2005-1855, a bilingual
anthology of British and American poets</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> published by Joca Seria and Turtle
Point Press. With Elisabeth Hayes and Suzi Winson of the FACE foundation, and
with Vincent Broqua, he co-organized the French and American festival POEM
(2009) and co-edited </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">POEM : Poets On (an)
Exchange Mission</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">, a bilingual anthology
(Fishdrum/Doublechange).</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></p><p class="MsoNormal" style="margin-bottom:13.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">He’s currently
working on an anthology of New York School poets with Macgregor Card and on a
French Frank O’Hara </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Selected Poems</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">. Recent translations include Keith
Waldrop’s </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">The Real Subject: Queries and
Conjectures of Jacob Delafon </span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">(forthcoming
from José Corti), David Antin’s </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">What It Means to Be Avant-Garde </span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">(with Abigail Lang and Vincent Broqua, Presses du Réel) and Frank O’Hara’s </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Lunch Poems </span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">(with Ron Padgett).</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></p><p class="MsoNormal" style="margin-bottom:13.0pt;line-height:17.0pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><a href="http://imager.univ-paris12.fr/1214206125147/0/fiche___article/"><span style="color: rgb(0, 23, 247); "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">http://imager.univ-paris12.fr/1214206125147/0/fiche___article/</span></font></span></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></p><p class="MsoNormal" style="margin-bottom:13.0pt;line-height:17.0pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">++++</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><span class="title1"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></span></p><p class="MsoNormal"><span class="title1"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">In the hopes of contetxtualizing Waldrop
and his work, I’ve gathered some useful links.</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></span></p><p class="MsoNormal"><span class="title1"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></span></p><p class="MsoNormal"><span class="title1"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></span></p><p class="MsoNormal"><span class="title1"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">I pulled this extensive bio from
<a href="http://www.poets.org">www.poets.org</a></span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></span></p><p class="MsoNormal"><span class="title1"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></span><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Keith Waldrop was born in Kansas and served in the
United States military. In 1954, he met his wife, the poet and translator </span></font><a href="http://www.poets.org/rwald"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Rosmarie Waldrop</span></font></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> while stationed in
Kitzingen, Germany. He studied at Aix-Marseille and Michigan Universities,
earning a Ph.D. in Comparative Literature in 1964. His first book of poetry, </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">A Windmill Near Calvary</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (University of
Michigan, 1968), was nominated for a National Book Award.</span></font></p><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">He is the author of numerous
collections of poetry, most recently </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Several
Gravities</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (Siglio, 2009), a collection of collages; </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Transcendental Studies</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (UC Press, 2009), a trilogy of collage
poems; and a translation of </span></font><a href="http://www.poets.org/cbaud"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Charles
Baudelaire</span></font></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">'s </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Paris Spleen</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">
(Wesleyan, 2009). His other work includes </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">The
Real Subject: Queries and Conjectures of Jacob Delafon: With Sample Poems</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">
(Omnidawn, 2004). His other collections of poetry include </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">The House Seen from Nowhere</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (2003), </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Haunt</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (2000), </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Well Well
Reality</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (1998, with </span></font><a href="http://www.poets.org/rwald"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Rosmarie Waldrop</span></font></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">),
and the trilogy </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">The Locality Principle</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">
(1995), </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">The Silhouette of the Bridge</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">,
which won the Americas Award for Poetry (1997), and </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Semiramis, If I Remember</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (2001).</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">He has translated several
contemporary French poets, such as Anne-Marie Albiach, Claude Royet-Journoud,
Dominique Fourcade, Jean Grosjean, and Paol Keineg. In 2006, he completed a
translation of </span></font><a href="http://www.poets.org/cbaud"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Baudelaire</span></font></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">'s </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Les Fleurs du Mal</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> (Wesleyen University
Press).</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">According to Waldrop,
collage is a major mode of composition for him. He explains the process as:
"a way to explore, not necessarily the thing I am tearing up, but the
thing I am contriving to build out of torn pieces. To the extent that there is
a purpose to what I do, its end is the 'enjoyment of a composition'—a concern,
as A. N. Whitehead notes, common to aesthetics and logic."</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">About his work, the poet </span></font><a href="http://www.poets.org/mpalm"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Michael Palmer</span></font></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> has said, "As we
would expect from Keith Waldrop, it is suffused with a particular humanity and
an appreciation for the absurd, even the grotesque, in daily life. The rhythmic
apposition of prose and poetry brings to mind the freedom, alertness and
quality of distillation in Basho's classic travel sketches. With his quietly
precise sense of modulation and his unerring gaze, Waldrop remains one of the
vital and requisite, semi-secret presences in American letters."</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Waldrop has received an
award from the Fund for Poetry, fellowships from the National Endowment for the
Arts and the Berlin Artists Program of the DAAD. In 2000, he received a Medal
from the French government with rank of Chevalier in the Order of Arts and
Letters, for lifetime contribution to French literature.</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">He currently lives in
Providence, Rhode Island, where he teaches at Brown University, and has served
as co-editor of Burning Deck Press, with his wife </span></font><a href="http://www.poets.org/rwald"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Rosmarie Waldrop</span></font></a><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> since 1968.</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">++</span></font></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">In terms of situating Waldrop’s </span></font><i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Transcendental Studies</span></font></i><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">, here is an excerpt from a brief exchange
between Craig Morgan Teichner and Waldrop:</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><strong><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">CMT: This is
an unusual book—really three books in one, which you call a trilogy. Can you
explain how you wrote them?</span></font></strong><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><div style="margin-top: 0.1pt; margin-right: 0in; margin-bottom: 0.1pt; margin-left: 0in; "><span class="whitemenutitle"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">KW:</span></font></span><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">
It came about for a very specific reason. The problem was that I had to become
the director of a program at Brown—it was graduate writing program. Back then
it was part of the English department, but required somebody to be the director
and there was no assistant director and only a part time secretary, so there
was a lot of stuff going through. It was not a difficult job, but it was
endless. I kept thinking after hours about what I should do tomorrow and what I
didn’t do yesterday, and I found after some months that I was not writing any
poetry, and I didn’t like that, so I decided midnight would be the hour when
Brown would disappear for me and I’d work on my poems no matter what. I decided
to do some collage work with my poems, and the mechanical part of it, just
getting words from somewhere, I thought would be something I could do without
thinking, so I got a batch of books and put them on the table—the plan was very
simple, I put three books in front of me, all prose, a novel, then something
psychological, then whatever I happened to have around. I would take phrases
from these three books and make some stanzas, four, five six lines. Once I had
that I’d make more stanzas of the same number of lines, and when that gave out,
after a page or two, I’d say alright I have this poem now and I would take it
to the typewriter and type it up and in doing so I would rearrange the stanzas
alphabetically. I wasn’t worried about keeping the words exactly what they
were—sometimes I changed words. I wasn’t trying to prove anything about
collage, I was trying to write poems. Then I would put a title on it and put it
aside. Then after a matter of weeks, I had something book length, when it
wasn’t working anymore, I stopped. At that point I rearranged all the poems by
title and that was the second part of the book. The first and third parts are
mainly collage, a little less. I had different ways of working with it.</span></font><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><o:p></o:p></span></font></div><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">(the rest of the exchange is here: <a href="http://www.nationalbook.org/nba2009_p_waldrop_interv.html">http://www.nationalbook.org/nba2009_p_waldrop_interv.html</a></span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">++</span></font></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Also useful is the end of an interview with Waldrop
conducted by Peter Gizzi (a former student of Waldrop’s):</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Keith Waldrop: I think this is part of a more general
question: Where does it come from, where do we get, the </span></font><em><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">energy</span></font></em><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> to "create"? And all I can say is
that it seems to me to come from the desire of the thing to be created. <br><br>
To ask </span></font>
<em><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">why</span></font></em><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> someone writes is usually a
red herring. One may write because of emotion or because of moral need or
because a bill is coming due or to explain an idea or because of some whim, and
those "causes" may well leave their traces in the poem. But the poem
is in the words of the poem-in their relations, internal and external. In one
sense, the words of the poem belong to the poem. In another sense, they belong
to the language the poem is written in and to the world that language is part
of. There is no mystical substance behind the words. There is no key, since
there is no lock. And there is no psychological state behind it, because when
the poem is done, the poet is dead.</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">(the rest of the interview is here:</span></font></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"><a href="http://www.sigliopress.com/library/kw_petergizzi.htm">http://www.sigliopress.com/library/kw_petergizzi.htm</a></span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">+++</span></font></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Here, Waldrop is interviewed by Charles Bernstein</span></font></p><p class="MsoNormal"><a href="http://media.sas.upenn.edu/pennsound/authors/Waldrop-K/Close-Listening/Waldrop-Keith_Close-Listening_conversation_11-05-09.mp3"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">http://media.sas.upenn.edu/pennsound/authors/Waldrop-K/Close-Listening/Waldrop-Keith_Close-Listening_conversation_11-05-09.mp3</span></font></a></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">At this link, Waldrop reads a selection of his work:</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><a href="http://media.sas.upenn.edu/pennsound/authors/Waldrop-K/Close-Listening/Waldrop-Keith_Close-Listening_reading_11-05-09.mp3"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">http://media.sas.upenn.edu/pennsound/authors/Waldrop-K/Close-Listening/Waldrop-Keith_Close-Listening_reading_11-05-09.mp3</span></font></a></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Onward,</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;">Richard Deming, Co-Coordinator</span></font></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p><p class="MsoNormal"><o:p><font class="Apple-style-span" face="Cambria" size="3"><span class="Apple-style-span" style="font-size: 12px;"> </span></font></o:p></p>
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