WEBVTT

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Your question, right?

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I will find you
with the microphone.

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Thanks, Erin.

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I really enjoyed the way
you explained your process

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in the beginning
of before you read

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your new poem as creating these
nets as a place of dwellings.

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And you made the ultimate
question a little bit.

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So my question then
becomes, if you're

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becoming this participant
in these conversations

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that you're creating
through text,

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do you find that
you have to add,

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so that you're not
just reflecting

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what's already been created?

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What do you need to add,
so that these constructions

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become a place of dwelling?

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It's a great question.

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And when I asked to myself
pretty much every time,

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I write a poem.

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And there's a couple
of things that perhaps

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address what you're asking.

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One that's become
important to me

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is actually from Shelley's
defense of poetry,

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where he says that the
need to write poetry

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is to keep linked these links
that have always been linked.

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And I think one of
the difficult truths.

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Although, that word
makes me uncomfortable

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in all sorts of ways.

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But I don't have a better one.

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One of the difficult
truths about poetry

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is that the only way
you maintain those links

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is by adding a link.

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One can't help it.

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The other thing that has
been very important to me

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for years revolutionary
in many ways

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is also from Thoreau in his
journals, where in various ways

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but most pointedly says Plato's
thoughts are nothing to me

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until I've thought Plato's
thoughts, which is to say

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there is this odd
way in which when

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one thinks about
reading and writing

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as not simply oppositional,
or compensatory activities.

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But as a deeply similar
creative activity.

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That reading is this act of
thinking through another's

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thoughts, your own thoughts.

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And somehow the only way
to address that activity

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is by putting your own words
to it even if sometimes

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your own words or those words
that have already been written.

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And yet everywhere it's
already been written.

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It's not it's not an original
work it is we're trying to do.

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It's this keeping vital that
without which our making

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words might cease to be.

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I suspect.

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Does that at all get
towards your question?

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OK.

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Question three.

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Great.

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I'm curious I think
there are a lot of people

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who are doing work
now that's playing

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with some degree of collage
and with some degree

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of incorporating other
people's works and words.

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And I'm curious
if in your process

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of talking about this
project as you've

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been moving around the
world and reading from it.

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You've met or
encountered resistance

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to that project or that idea.

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Because I think a lot of
times in poetry circles,

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we talk as though
we have this fear

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that there will be resistance.

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And yet, I haven't
encountered or seen

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a lot of actual resistance
to the idea of collage

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and pulling in other things.

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I haven't.

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I haven't personally
met any resistance.

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But I suspect poetry is a field
where most resistance stays

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curiously unspoken.

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Collage and appropriation, these
are certain kinds of buzzwords

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and all postmodern poetics.

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And my interest in these
modes has really nothing

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to do with a postmodern poetic
as a theory I ascribe to.

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It doesn't frankly
interest me at some level.

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All I'm concerned
about is as naive

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as it sounds is
just being honest,

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being honest to
the idea that feels

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necessary to do at the time.

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And hopefully, that
comes through in the work

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in a way, where people who
might have certain doubts.

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And I have many doubts
about such moves

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myself even as I do them.

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Either change their mind
or hate me in secret.

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Or just dislike me in secret.

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I don't think I'd
ever resist a hateful.

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People that hate, they
come up and talk to you.

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The people who
dislike, they just

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wander out feeling good about
their begrudgement which

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is a powerful thing in itself.

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More begrudgingly.

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More silent, but grudging.

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Isn't that a line from
Keats more begrudging

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more happy, happy love.

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Oh, I got confused.

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More happy love.

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More happy, happy love.

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Everybody thinks that's
the stupidest line.

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But it's not a better line
in the English language.

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I think we're going to
invite you back tomorrow

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to hear more conversation
with Dan Beachy-Quick

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And thank you so much.

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Thank you.

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