WEBVTT

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So yes.

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I feel so many
resonances between much

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of what you presented to
us here and in this poem

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and in "Palace of Pearls."

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As you're reading this to
me, I think particularly

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"in the moonlit plaza
of your forehead,

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I'm thinking of the emergency
room of your eardrum."

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And--

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A little bit more contemporary.

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Yeah.

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Yeah.

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I just wondered if you could
speak to us more about how

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"Palace of Pearls"
is coming from all

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of this that [INAUDIBLE].

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Well, I thank you for
making that comparison.

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I accept that to the
bottom of my being.

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I've been reading Lorca
on and off for years.

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And I did get back into Lorca
for preparations for a lecture

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tour that I was on regarding
him, of which this is a part.

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And so what I was
writing and thinking

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was so heavily influenced by my
submerging myself into his work

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again.

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And I suppose even the very
title of "Palace of Pearls,"

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which I took from a
story he was told,

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once I had that, it
really got me going

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and gave me permission to
allow myself to be influenced.

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That's a wonderful
thing about art.

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And once you give yourself
permission to say,

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listen to the wonderful
music of a composer

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from the early 20th century
who's blinking the light now

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because he's in the room.

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I believe this wholeheartedly.

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I know now that you are
aware that I am a fool.

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But I do believe that.

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Once an artist of any
kind allows influences in,

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there's no telling you
know what will happen.

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And I think it would
be a joy to know

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that even a single person
might be influenced

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by something that I wrote.

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So I mean I just think it's
a big circle that can include

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rather than exclude influence.

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But thank you.

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Are there any other questions?

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Yeah.

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I'm just curious about the line,
"you'll waste any of the snow."

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And wondered where that
[INAUDIBLE] took you.

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You know, I don't understand
a word of his poetry.

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So "Night in the Gardens of
Spain," I promised you that.

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It's getting darker
by the minute.

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You see how quickly time
goes when you're having--

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I don't understand his poetry.

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And often don't
understand my own.

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I think that he's way out
there beyond meaning, perhaps

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into contradictory meanings
and paradoxical meanings.

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And his imagery seems to touch
a kind of elemental place in us.

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As with the word snow, which
has elements of purity but also

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of chill.

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And so I think he's
the consummate Catholic

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so he's thinking bright and
he's thinking dark almost

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at every word.

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No sooner does he say snow
but he means something,

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he combines it with the
word enemy for example.

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He means something quite
opposite at the same time.

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Yeah?

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Could it be heat?

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Like you waste
the warmth of you.

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Sure.

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Is it [INAUDIBLE] the snow?

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Yes.

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That's definitely one
level there for sure.

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I mean this is a love poem.

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Perhaps unrequited
love or lost love

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or love that will be brief.

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And so there's a
lot of pain in here

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despite how beautiful
some of the lines are.

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Anybody else want
to ask a question?

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All right before
you go, I just want

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to pass around very loosely and
haphazardly some photographs

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that I have from the
Lorca Foundation in Spain.

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This a little booklet.

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Maybe take a glance at it before
you hit the contemporary world

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again.

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You can see what his world
was like nearly 100 years ago.

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He's quite relaxed in
some of these pictures,

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although as you might guess,
usually wearing black.

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Hence my outfit
today in an effort

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to resurrect some
of that feeling.

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Yeah?

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Do you read Spanish?

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You know, I read Spanish poorly.

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But if you read Spanish,
we'd love to hear some of it

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in Spanish.

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The difference is
[INAUDIBLE] and it's

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a problem with translation.

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Yes it is.

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Trying to translations
that don't seem poetic

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even when it changes--

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Yes.

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Yes.

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I wondered if when you
were describing this poetry

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[INAUDIBLE] language.

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Yeah.

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But maybe it is.

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Oh.

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It's not the original and
that's a problem right away.

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Even in the two
translations you heard.

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Yeah the word "womb",
for example, showing up

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and it sounds awfully wrong.

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It's not exactly--

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Yeah.

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It's hard to [INAUDIBLE].

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Yeah.

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[INAUDIBLE]

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Yeah.

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And from what little I know of
the Spanish language is poetry

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is just extraordinarily
more musical than even

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in a very musical translation.

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So even if you don't even
think of the approximations

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that meanings make, the music
is off too in the translation.

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But without translation
we would have--

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Yeah.

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It's really--

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It's a problem

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It's a problem.

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It's a big problem.

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And of course some of the
greatest poetry in the history

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of the world is not in English.

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With all due respect to
the poets in the room.

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Anybody else?

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I'm going to play a little
more music then as you saunter

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around and perhaps take
a look at the pictures

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I brought before you go.

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I think you'll enjoy them.

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And thank you for being here.

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Much appreciated.

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[CLAPPING]