American - Poet | November 27, 1942 -
I think there is something about coming to a city to work that puts you in touch with it in a different way.
Marilyn Hacker
WorkCityThinkYouTouchWay
I lived in the studio apartment that I bought for four years before I bought it in 1989, so I was already in it. I began living there in 1985, so I've had the same address and phone number since then.
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When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.
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Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
ChallengeFindFirstEnglishPoem
I don't think it's by accident that I was first attracted to translating two French women poets.
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Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
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I don't know whether a poem has be there to help to develop something. I think it's there for itself, for what the reader finds in it.
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The pleasure that I take in writing gets me interested in writing a poem. It's not a statement about what I think anybody else should be doing. For me, it's an interesting tension between interior and exterior.
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Paris is a wonderful city. I can't say I belong to an especially anglophone community.
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Community means people spending time together here, and I don't think there's really that.
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The phenomenon of university creative writing programs doesn't exist in France. The whole idea is regarded as a novelty, or an oddity.
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Given the devaluation of literature and of the study of foreign languages per se in the United States, as well as the preponderance of theory over text in graduate literature studies, creative writing programs keep literature courses populated.
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