But I don't think that poetry is a good, to use a contemporary word, venue, for current events.

Still, language is resilient, and poetry when it is pressured simply goes underground.

PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.

From reading a previous answer, you know that I consider all those aspects to be part of American cultural myth and thus they figure into good American poetry, whether the poet is aware of what he is doing or not.

I definitely wish to distinguish American poetry from British or other English language poetry.

I don't like political poetry, and I don't write it. If this question was pointing towards that, I think it is missing the point of the American tradition, which is always apolitical, even when the poetry comes out of politically active writers.

American poets celebrate their bodies, very specifically, as Whitman did.

American poetry, like American painting, is always personal with an emphasis on the individuality of the poet.

Other people have noticed more of an evolution than I have and so I'll try to tell you where I'm coming from and also relate it to what I think other people perceive.

But I am not political in the current events sense, and I have never wanted anyone to read my poetry that way.

I'm passing on a tradition of which I am part. There's a long line of poets who went before me, and I'm another one, and I'm hoping to pass that on to other younger, or newer, poets than myself.

My poems are almost all written as Diane. I don't have any problems with that, and if other women choose to identify with this, I think that's terrific.

I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.

I'm perfectly happy when I look out at an audience and it's all women. I always think it's kind of odd, but then, more women than men, I think, read and write poetry.

I am not political as a person.

High and low culture come together in all Post Modern art, and American poetry is not excluded from this.

Distinctly American poetry is usually written in the context of one's geographic landscape, sometimes out of one's cultural myths, and often with reference to gender and race or ethnic origins.

Because, in fact, women, feminists, do read my poetry, and they read it often with the power of their political interpretation. I don't care; that's what poetry is supposed to do.

I think that's what poetry does. It allows people to come together and identify with a common thing that is outside of themselves, but which they identify with from the interior.

I do not read newspapers. I do not watch television. I am not interested in current events, although I will occasionally discuss them if other people want to discuss them.

I think I'm a very good reader of poetry, but obviously, like everybody, I have a set of criteria for reading poems, and I'm not shy about presenting them, so if people ask for my critical response to a poem, I tell them what works and why, and what doesn't work and why.

One, I have a wonderful publisher, Black Sparrow Press; as long as they exist, they will keep me in print. And they claim they sell very respectable numbers of my books, so I guess, and it's true, every place I go, my books are in libraries and on bookshelves.

I think one of the things that language poets are very involved with is getting away from conventional ideas of beauty, because those ideas contain a certain attitude toward women, certain attitudes toward sex, certain attitudes toward race, etc.

Sometimes the archaism of the language when it's spoken is why we are all in love with the Irish today.

So, I've never been politically correct, even before that term was available to us, and I have really identified with other people who don't want to be read as just a black poet, or just a woman poet, or just someone who represents a cause, an anti-Vietnam war poet.

But I don't think that poetry is a good, to use a contemporary word, venue, for current events.

I think that great poetry is the most interesting and complex use of the poet's language at that point in history, and so it's even more exciting when you read a poet like Yeats, almost 100 years old now, and you think that perhaps no one can really top that.

Even if you walk exactly the same route each time - as with a sonnet - the events along the route cannot be imagined to be the same from day to day, as the poet's health, sight, his anticipations, moods, fears, thoughts cannot be the same.

The French are the wittiest, the most charming, and up to the present, at all events, the least musical race on Earth.

A lot of people have gotten into comedy because of certain influences in their lives or events that were painful, and I really have wracked my brain to figure it out. I pretty much have had a normal childhood. Maybe it was too normal.

I've done a lot of Super Bowls and appeared in a lot of big, big events and places and the Masters and what have you, but there was nothing as intimidating as speaking with Billy Graham.

Big shows are more like events and small shows are more like traditional gigs.

I like to create imaginary characters and events around a real historical situation. I want readers to feel: OK, this probably didn't happen, but it might have.

We not only interpret the character of events... we may also interpret our interpretations.

Every person, all the events of your life are there because you have drawn them there. What you choose to do with them is up to you.

Human beings are accustomed to think of intellect as the power of having and controlling ideas and of ability to learn as synonymous with ability to have ideas. But learning by having ideas is really one of the rare and isolated events in nature.

An author who sets about to depict events of the past that have run their course is suspected of wishing to avoid the problems of the present day, of being, in other words, a reactionary.

It seems proper, at all events, that by an early enactment similar to that of other countries the application of public money by an officer of Government to private uses should be made a felony and visited with severe and ignominious punishment.

Of history, how little do we know by personal contact; we have lived a few years, seen a few men, witnessed some important events; but what are these in the whole sum of the world's past.

I, not events, have the power to make me happy or unhappy today. I can choose which it shall be. Yesterday is dead, tomorrow hasn't arrived yet. I have just one day, today, and I'm going to be happy in it.

The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order the continuous thread of revelation.

And I realized that there was no sports reporter, so I started covering sporting events.

Evil events from evil causes spring.

The reporting of news has to be understood as propaganda for commodities, and events by images.

The decathlon includes ten separate events and they all matter. You can't work on just one of them.

We are the only beings on the planet who lead such rich internal lives that it's not the events that matter most to us, but rather, it's how we interpret those events that will determine how we think about ourselves and how we will act in the future.

Which suggests something about media and war: it's not just that events happen and the media documents and presents them. There is a third element: what the public is ready to accept, what the public wants to know.

All strange and terrible events are welcome, but comforts we despise.

The concept of reason itself appears as an artificial attempt to separate intellectual powers from the frustrations, emotions, and accidents which cause events; the concept of reason is viewed as facade to prevent change.