So another formal question I have,
and going back to your discussion of the sentences.
I think it's very interesting in earlier of your books,
like String Light you have several poems where
the sentences are literally pulled apart
with insertion of white space.
And then in the next book, Tremble
you break sentences apart with punctuation, with periods.
It almost seems in a few of the poems there.
And I'm wondering if it is different musically
in your head, what you're writing now,
with the sentences in the flow of the sentence
rather than the scoring of breaking up the sentence
and working crazily.
Yeah, punctuation.
I mean, I've never been very good at orthodox punctuation.
So I had to find ways to try to use it for effect.
I mean, when I had a couple of lines like, even.
If.
The.
Sky.
Is.
Falling.
My.
Peace.
Rose.
Is.
In.
Bloom.
I put a period after each word because I
wanted it to be very staccato without breaking
a line after each word.
So I play around with punctuation
as a way to try to make it do something besides just
be sort of salt and pepper on the page, work for me
effectually.
So is that one of the things that you
feel you've grown out of, or you've gotten bored with?
No, but I got tired of beginning to end narratives with just
broken out in similes.
That's when I got real tired.
But I got pretty good at it, before I got tired of it.
I remember years ago reading the text with one of the earlier
books of Georgia O'Keeffe's plates,
and she said that she did everything she could
in black and white until she had exhausted everything
she had to say in charcoal, and until she
was fluent in her medium.
Which I thought was very interesting thing
for someone who's essentially known as a colorist
to say about what they did to lay the bed for their work.