I was very committed to the process of composing, working at poems, putting things together and taking them apart like some kind of experimental filmmaker.

Disney made a fortune out of inventing the businessman's idea of the imaginary as the contradictory of the businessman's idea of the real.

The self is an oral society in which the present is constantly running a dialogue with the past and the future inside of one skin.

While I've had a great distaste for what's usually called song in modern poetry or for what's usually called music, I really don't think of speech as so far from song.

I tended to emphasize the secular, the casual, the colloquial, the vernacular against the sacred.

From this entertainment industry, may the gods of language protect us.

I had no idea where these kids at a small private college in the San Fernando Valley were coming from, why they were coming to hear me, or what they needed to know.

I am quite unsatisfied by the distinctions between the oral and literate.

It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.

My mother turned into a professional widow. She couldn't understand why I wanted to be an engineer; she thought I should be a chicken farmer.

Children frequently sing meaningful phrases to themselves over and over again before they learn to make a distinction between singing and saying.

For several centuries what has passed for song in literary circles was any text that looked like the lyrics for a commonplace melodic setting.

I didn't think about whether I was writing poems. I was thinking. And the more I was thinking, the more there was I didn't understand.

I was very committed to the process of composing, working at poems, putting things together and taking them apart like some kind of experimental filmmaker.

I'm aware of my audience in a way, and I do try to engage with them while I'm trying to go about my business of thinking. I believe they help me by providing a focus.

I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.

When I got to the reading all the work, I was reduced to being an actor in an experimental play that I'd already written. And I didn't want to be an actor.

When you grow up in a family of languages, you develop a kind of casual fluency, so that languages, though differently colored, all seem transparent to experience.

I've always had a strong feeling for the Statue of Liberty, because it became the statue of my personal liberty.

My rejection of the idea of entertainment in its current form is based on the audience that comes with it.

I'm standing up thinking. Anybody who wants to listen is welcome. If not, I'm happy to see them go.

There is probably no oral society that fails to mark the spatial distinction of left and right, peculiar as this distinction may be.

A myth is the name of a terrible lie told by a smelly little brown person to a man in a white suit with a pair of binoculars.

While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht.

You pay your money, you take your choice. I get the audience my language attracts and I lose the ones it repels.

There are editing procedures for talks just as there are editing procedures in jazz improvisation.

I can manage a prose format as long as I keep closer to Laurence Sterne than to Henry James.

The Sophists' paradoxical talk pieces and their public debates were entertainment in 5th century Greece. And in that world, Socrates was an entertainer.

I'm not sure what theory is, unless it's the pursuit of fundamental questions.

I hardly remember how I started to write poetry. It's hard to imagine what I thought poetry could do.

The ancient Greek oral poets all had this anxiety about the deficiencies of their memories and always began poems by praying to the Muse to help them remember.

I reserve the right to tell shaggy dog stories or even common jokes as part of what I'm doing. I don't give a damn if half the audience walks out.

I learned enough Hebrew to stagger through a meaningless ceremony that I scarcely remember.

I wanted to be an inventor, whatever I thought that meant then. I guess I was thinking of Edison or maybe James Watt. Or maybe even Newton.

I was trying to find out what it was that everybody else understood without giving up my stubborn and hard-won lack of understanding.

When my mother left her second husband, she wrote her autobiography and presented it to him for his approval.

My way of thinking is very particular and concrete. It doesn't follow a continuous path.

Stories are different every time you tell them - they allow so many possible narratives.

When you grow up in a family of languages you develop a kind of casual fluency so that languages though differently colored all seem transparent to experience.

After I'd produced about two dozen pen and ink drawings, one evening I decided that they needed poems to accompany them. I still have no idea where that notion came from, but it took me about two hours to produce verses for these creatures.

To me many short poems read and write like beginnings that simply whet my appetite; I want to get over that.

I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.

If I were assigned poems I suppose I'd write more of them but it is entirely voluntary and for the most part ignored in the market sense of the word so the language to me is most intimate, most important, most sublime and most satisfying when it gets done.

I like poems that are complex.

'A collected poems' is either a gravestone or a testimonial to survival.

I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.

We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.

Besides the actual reading in class of many poems, I would suggest you do two things: first, while teaching everything you can and keeping free of it, teach that poetry is a mode of discourse that differs from logical exposition.

Poems seem to have a life of their own. They tell you when enough is enough.