Dawn Lundy Martin Quotes
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I often feel trapped. I often feel like I'm trying to escape some trap, be it a way of thinking, a compulsion, or a way of life. I believe this persistent feeling comes from childhood traumas that stripped away my power. The effect, though, the resulting persistent desire to stretch out of confinement even when confinement is inevitable, is a gift.
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When I am writing poetry, I try to make my mind go a little lazy, to not think too much, as a way of opening up the part of the brain that makes poems. If I'm successful in this part of the process I'm often not. If my mind gets too lazy it will linger in familiar boring territory, it's like my mind can stroke the physical world.
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My goals as an artist have nothing to do with speaking to an audience. I love to have a good time, but when it comes to poetry I'm not really interested in writing poetry that seeks to entertain or operate safely within the mainstream and, to be clear, I'm not disparaging the really phenomenal work that does - it's just not my interest as a poet.
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When my work does speak to audiences, when it creates audiences around it, I feel a little less crazy because what that means is that there are folks out there who are interested in thinking about themselves and the world through a prism. The prism is a labor and there can be a pleasure in labor.
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At the Third Wave Foundation, we were asking questions like, "How can we get more voters registered who support our issues?" or "How do we want to give away of money so that it has the greatest impact?" But, the poems were involved in questions of feeling whole, negotiating sexual trauma, and speaking to what has been lost forever. I've always been a person who feels most energized when I am both creating art and working toward social change, but I often have difficulty talking about the two in the same breath.
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I reach readers rather unintentionally, I think, and those readers likely connect with the slant, the off-kilter, the part of the road you can barely see from the well-traveled road. So, when I'm writing, I'm not thinking about audience at all. Instead, I'm trying to see behind those shrubs, down that hidden path. We're the weirdos of the world and there are so many weirdos.
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The precise laziness is akin to letting your eyes blur or glimpsing what's at the corners in peripheral vision. Or those moments when you think you see something but you're not sure you actually saw it in the end. The way I get to these places is just practice, like a kind of meditation that shapes my brain.
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For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
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With my students I give them lots and lots of guided writing. Part of it is as simple as writing a lot but not toward anything. The mind floats. Then I help them see where the language has heat. If we do this a lot in class, students eventually relax into this writing practice and enjoy it. Even just that - writing pleasure without the anxiety of "audience" or "grade" or "success" - is a kind of impetus toward the unfamiliar.
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I'm interested is the oblique as a concept deeply connected to human lived experience, not separate from it. I was listening to an interview with film director Stephen Frears on NPR the other day and he said, "People's lives are never what you think they are," or something like that. Human lives are oblique. It makes sense to me that attending to them in language is as well.