Allen's [Gisberg] loyalty to his friends was extraordinary. And as he ...

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?".

My teachers were often very eccentric.

We need a world-wide Department of Peace.

I am a self-appointed ambassador for poetry.

Connection to Buddhism is strand in my life.

The sense of the preciousness of the body - vehicle for poetry.

Any technology is just a skillful means and it's how you use it.

I was raised with a sense of democratic vistas and egalitarianism.

We will have a total chaos without books, literature, and library.

I'm drawn to the magical efficacies of language as a political act.

I have students whose fathers are voting for Sarah Palin. It's wild.

What I'm after is that wakeful state through language that stays alive.

Think of the road as a kind of zone and a site of incredible diversity.

There's a numbness in our culture to the continuing horrors of genocide.

For me poems are acts re-done, and that can vibrate well into the future.

I want the poem to be an experience - for both the listener and for myself.

I get very upset when money is being cut and people can't visit the Grand Canyon.

We can think for ourselves and we can awaken the world to a greater consciousness.

There are energies that reside in each phone and phoneme. And we can release them.

World War II synchronizes things for a lot of people. There's a kind of wakeup call.

My father was a frustrated writer. I think he wanted to write the great American novel.

I think of the amazing things that were going on. So it's so rich. The doors keep opening.

The whole red state/blue state thing is very interesting. Watching that shift over the years.

I was not ever hitchhiking alone. I've done solo train trips but I've never driven myself alone.

If you can integrate your life to have a kind of meditative practice that is considering others.

Poets have to keep pushing, pushing, against the darkness, and write their way out of it as well.

As a woman I have felt encouraged and fed by and nurtured by the work of [Jack] Kerouac and others.

For me the road became a zone, in places like Saint Marks poetry Project where I worked for 12 years.

Personally there is first: imagination; second: the act of writing - and third: the act/act of vocalizing.

When I look at my life there are these streams, these things that have continuity from the fifties to now.

If I smashed the traditions it was because I knew no traditions. I'm the girl with the unquenchable thirst.

I think anything that gets people outside [is good] - I'm a big supporter of public parks and public spaces.

It's so rich as a trope - the whole idea of the road and it being in terms of language, being an active experience.

I know when I go to a poetry reading, I feel purged, exulted. You let the poet guide you through some kind of journey.

I think of my father born in this very small, limited situation and then coming out of that. Many people have this story.

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?

Myths, by their definition, involve transformations, struggles through various worlds or layers of reality and of obscuration.

I still had to correct Allen Ginsberg at times when he called women girls. I'd say. Allen please, it's not politically correct.

I took my vow to poetry; this is where I'm going to be. These are my people; this is my tribe. This is where I'm going to put my energy.

As a younger person you can come in through many, many gateways. It's like some huge Mandela. You can enter into this and get refreshed.

I hope I'm not implying role of contemporary poet for myself, although there's a kind of resonant paradigm. It's traditionally a difficult role.

The sense of traveling this continent, also other continents. The friendship.I would say a non-competitive friendship. That is so amazing to me.

For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.

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.”

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.

We humans need to do better with our vast minds and alchemical powers. Future radial poetries might be more symbiotic with the rest of consciousness.

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.

I like the idea of the object, the relic. And I see it as a time machine too or a device you plug into a socket that activates a sound and light show.

A lot of my life has involved with helping create cultures that have as their basis this vision of the sharing, the partaking of a certain ethos together.

The challenge lies in the fact that the planet has limited time. Be it climate change or nuclear fallout, there is very little time. You have to pick your cause.

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