C.D. Wright Quotes

If religion, she also liked to say, is the opiate of the masses, fundamentalism is the amphetamine.

The Ozarks are a fixture in my mindscape, but I didn't stay local in every respect. I always think of Miles Davis, "People who don't change end up like folk musicians playing in museums, local as a motherfucker." I wouldn't describe my attachment to home as ghostly, but long-distanced. My ear has been licked by many other tongues.

Poetry is the language of intensity. Because we are going to die, an expression of intensity is justified.

Everyone in their car needs love.

One opinion I share with the Dadaists is that art-making presupposes a revolutionary state of mind. Assimilating the practice into commodity or symbol of status nullifies its fundamental aims; therefore at the center of my own adherence to to this ranginess in taste is that it doesn't add up to membership in a private club. The differences choose me. There are so many approaches, so many innovative moves, so many oddly shaped ears in the field; may they never sing in unison.

Uniformity, in its motives, its goals, its far-ranging consequences, is the natural enemy of poetry, not to mention the enemy of trees, the soil, the exemplary life therein.

Poetry seems especially like nothing else so much as itself. Poetry is not like, it is the very lining of the inner life.

It is a function of poetry to locate those zones inside us that would be free, and declare them so.

Nobody reads poetry, we are told at every inopportune moment. I read poetry. I am somebody. I am the people, too. It can be allowed that an industrious quantity of contemporary American poetry is consciously written for a hermetic constituency; the bulk is written for the bourgeoisie, leaving a lean cut for labor. Only the hermetically aimed has a snowball's chance in hell of reaching its intended ears. One proceeds from this realization. A staggering figure of vibrant, intelligent people can and do live without poetry, especially without the poetry of their time. This figure includes the unemployed, the rank and file, the union brass, banker, scientist, lawyer, doctor, architect, pilot, and priest. It also includes most academics, most of the faculty of the humanities, most allegedly literary editors and most allegedly literary critics. They do so--go forward in their lives, toward their great reward, in an engulfing absence of poetry--without being perceived or perceiving themselves as hobbled or deficient in any significant way. It is nearly true, though I am often reminded of a Transtromer broadside I saw in a crummy office building in San Francisco:



We got dressed and showed the house

You live well the visitor said

The slum must be inside you.



If I wanted to understand a culture, my own for instance, and if I thought such an understanding were the basis for a lifelong inquiry, I would turn to poetry fi

Almost none of the poetries I admire stick to their labels, native or adopted ones. Rather, they are vagrant in their identifications. Tramp poets, there you go, a new label for those with unstable allegiances.

We come from a country that has made a fetish if not a virtue out of proving it can live without art: high, low, old, new, fat, lean, and particularly the rarely visible nocturnal art of poetry.
We must do something with our time on this small aleatory sphere for motives other than money. Power is not an acceptable surrogate.

Lead me, guide me to the light of your paper. Keep me in your arc of acuity. And when the ream is spent. Write a poem on my back. I'll never wash it off.

Poetry is a necessity of life,

I believe the word used wrongly distorts the world.

It is not that complexity is overrated, but is is overcomplicated; it is not that obscurity is too obscure, it's that the underside grows grungy if it isn't exposed to the change of air;
it is not that the language is exhausted, it is that we run down; it's not that the edge won't cut anymore, it is that the cuts are getting thinner;
it's not that art is artificial, it is that the artists get outright seditty; it's not that literary reputations are not inevitable, it's that they are invented;
not that theories are not beautiful, but that they are feeble