Lily Brown writes with and against things in poems that are coiled up tight as springs (or snakes). A believer in the power of the line, she writes, 'I think the plastics/and sink them' then 'Where is the sand/man hiding… — Rae Armantrout Copy Share Image
I am attracted to looking at the different things language can mean even in one sometimes quite ordinary utterance. Writing is partly about listening… — Rae Armantrout Copy Share Image
People probably long for something genuinely personal in a society where the personal is often indistinguishable from the "personalized." Maybe the poetry audience member… — Rae Armantrout Copy Share Image
Like most of my poems, 'Lie' has several sources: I read a very troubling book called The Sixth Extinction. I took note of the… — Rae Armantrout Copy Share Image
Poets tend to form loose groups - the "Romantics" or the "Imagists". And sometimes they write manifestoes in the name of these groups. This… — Rae Armantrout Copy Share Image
The ghosts swarm. They speak as one person. Each has left something undone. — Rae Armantrout Copy Share Image
Metaphor is ritual sacrifice. It kills the look-alike. No, metaphor is homeopathy. — Rae Armantrout Copy Share Image
Carried by light, images remain while sensation is so evanescent as to be always beyond belief. — Rae Armantrout Copy Share Image
“The feeling of emptiness is a pre-existing condition. Jargon forces intimacy.” — Rae Armantrout Copy Share Image
Like all my poems, 'Negotiations' has several sources. It deals with aging lovers and the often silent deals they make. Thinking about bargains made… — Rae Armantrout Copy Share Image
clarity need not be equivalent to / readability. How readable is the world? — Rae Armantrout Copy Share Image
