Well, the question is about all of the images
of movement in my work.
And what that means--
I would say that that's probably--
every writer has a certain obsession.
And I think that most writers--
at least those that I really well there's a certain--
it's often an inarticulate obsession
for instance with Cesar Vallejo, is this kind of stutter.
In his work there's often reference
to a kind of choking, of not being
able to swallow something.
And this sense of-- this movement of--
that itself and the one poem about,
The Music We Dance To it's connected
to the wheel of the chariot of the Lord of the underworld.
But it's also this kind of the wheel of being,
but that still is something that I
have attached a lighter more articulate connection to it.
It's partly just an underlying sense
of energy in this kind of nearly inarticulate connection
to certain gestures.
I often feel with those poems that you
mentioned that there is a great force empowering them
into existence.
In other words, when I write I feel those poems,
I feel this as if I've tapped into this almost
terrifying sense of momentum that seems to me to be partly
what existence is.
This whole way in which we are rushed into being,
and rushed past, and rushed upon.
So it's a-- and I have found connections to
with different myths or different stories,
but it comes back of course and in different forms.