Marilyn Hacker Quotes
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I worked at all kinds of jobs, mostly commercial editing.
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My mother was told she couldn't go to medical school because she was a woman and a Jew. So she became a teacher in the New York City public school system.
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Everyone thinks they're going to write one book of poems or one novel.
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Poetry seems to have been eliminated as a literary genre, and installed instead, as a kind of spiritual aerobic exercise - nobody need read it, but anybody can do it.
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There is always an element of play in form, however 'serious' the expression.
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Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
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What I like about Sapphics is the music of a non-iambic metric in English.
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There is something very satisfactory about being in the middle of something.
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Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
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Translation makes me look at how a poem is put together in a different way, without the personal investment of the poem I'm writing myself, but equally closely technically.
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As a teacher you are more or less obliged to pay the same amount of attention to everything. That can wear you down.
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The ambiguities of language, both in terms of vocabulary and syntax, are fascinating: how important connotation is, what is lost and what is gained in the linguistic transition.
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I think there is something about coming to a city to work that puts you in touch with it in a different way.
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I don't think it's by accident that I was first attracted to translating two French women poets.
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I started to send my work to journals when I was 26, which was just a question of when I got the courage up. They were mostly journals I had been reading for the previous six or seven years.
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'Love, Death and the Changing of the Seasons' is a kind of novel in verse about the arc of an urban lesbian love affair - and I suppose there is a certain amount of voyeurism in the consumption of fiction! The 'Sancerre' poems here are more contemplative and about the relationship of the individual to local and wider histories.
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I'm addicted to email, but other than that, there are practical things - being able to buy a book on the internet that you can't find in your local bookshop. This could be a lifeline if you live further from the sources.
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Given the devaluation of literature and of the study of foreign languages per se in the United States, as well as the preponderance of theory over text in graduate literature studies, creative writing programs keep literature courses populated.
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The woman poet must be either a sexless, reclusive eccentric, with nothing to say specifically to women, or a brilliant, tragic, tortured suicide.
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Paris is a wonderful city. I can't say I belong to an especially anglophone community.
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The pleasure that I take in writing gets me interested in writing a poem. It's not a statement about what I think anybody else should be doing. For me, it's an interesting tension between interior and exterior.
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When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.
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Community means people spending time together here, and I don't think there's really that.
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I try to write everyday. I do that much better over here than when I'm teaching. I always rewrite, usually fairly close-on which is to say first draft, then put it aside for 24 hours then more drafts.