I try to write in plain brown blocks of American speech but occasionally set in an ancient word or a strange word just to startle the reader a little bit and to break up the monotony of the plain American cadence.
With me it's the whole thing, it's the conceit, the idea, what the poem is saying. And it goes on just as long as is necessary to say what needs to be said.
The German experience, as you can see, did move me very much. Seeing that terrible destruction and seeing the miserable state of the people, how they had been beaten down by the war through no fault of their own probably.
Often something comes in from which you can see that the person is good, the book may not be perfect as it is, and the person doesn't want to do a re-write. That's something we do almost nothing of.
It's all well and good to say that Germans were all responsible for the concentration camps, but I don't think they were. I think that was the work of a small group of fiends.
Then, of course, there are those sad occasions when a poet or a writer has not grown, and one has to let them go because they're just not making headway. But we have a very clear personal relationship with the authors.
I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
We don't attempt to have any theme for a number of the anthology, or to have any particular sequence. We just put in things that we like, and then we try to alternate the prose and the poetry.
I think there is a great difference, in that when the poet is reading you get the whole personality of the person, especially if he's a good reader. Whereas a person just sitting gets what he puts into it.
I think that is where poetry reading becomes such an individual thing. I mean I have friend who like poets who just don't say anything to me at all, I mean they seem to me rather ordinary and pedestrian.
I think that concrete poetry seems to have, as far as I can see, come to a kind of a dead end. It doesn't seem to be going any further than it went in its high period of about five or six years ago.
We do very little re-writing in the office. We often take on people who show great promise and who we hope will develop into somebody important and someone good.
There are numerous cases of that, where one of our writers discovers another writer whom he likes, and we then take that book on. So it's a very close relationship. We can do that because we're so small.
