Edward Hirsch
Edward Hirsch
Edward Hirschis an American poet and critic who wrote a national bestseller about reading poetry. He has published nine books of poems, including The Living Fire: New and Selected Poems, which brings together thirty-five years of work, and Gabriel: A Poem, a book-length elegy for his son that The New Yorker calls “a masterpiece of sorrow.” He has also published five prose books about poetry. He is president of the John Simon Guggenheim Memorial Foundation in New York City...
NationalityAmerican
ProfessionPoet
Date of Birth20 January 1950
CountryUnited States of America
I would keep in mind to a young poet that you are entering into something that is very important, that has always been important in terms of human concerns.
When I taught at the University of Houston in the Creative Writing program, we required the poets to take workshops in fiction writing, and we required the fiction writers to take workshops in poetry.
There's never been a culture without poetry in the history of the world. In every culture, in every language there is expressive play, expressive word play, there's language use to different purposes that we would call poetry.
I don't think poetry will die, but I think that poetry does demand a certain kind of attention to language.
I just think that limits the kinds of experiences that people can have with poetry. But, poetry will survive; I don't worry about that. But, I do think that it may save fewer souls if people can't pay attention.
The attention deficit disorder of the culture is very distressing in America now and I think it puts a lot of things at risk, not just poetry.
So, some of the most difficult formal poems that I've written, say one sentence sonnets, I've been able to do those fairly quickly whereas some of the clearest, simplest lyrics that I've written have taken me the longest to get to the clarity of feeling that you're looking for.
I have the idea that lyric poetry is a poetry that's driven by a sense of the presence of death. That there's something unbearable about the fact that we're going to die and that we can't stand it and I think you find that out in childhood and you don't really - at least I found it out in childhood and I found it hard to get over.
And a lot of poetry is putting yourself back into the state of wonder that you have before things when you're a child. It's not only a joyous wonder, it's sometimes a grief stricken wonder.
I think there are different kinds of poetry for different stages of life and there's the wild, exuberance of youth, there's the painful agony of midlife experience, there's the late poetry in the presence of death.
So, it's a continual process of trial and error and then I find things and I throw it out and start again, but I keep writing it over again.
So, the result though is by the time I've got something, it's been worked over so many times that although I do make changes as the end, often by the time I've gotten it, it's pretty much completed.
Now, as I've gotten older I've been able to write more quickly. Sometimes I get in the space of something and I can do a lot in a day.
And when I'm writing well and when I'm inside the feeling, then I can do fairly complicated things with some fluency.