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Rae Armantrout

Rae Armantrout Books

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“Like all my poems, 'Negotiations' has several sources. It deals with aging lovers and the often silent deals they make. Thinking about bargains made me think of The Little Mermaid and that made me remember something I had just read about the incredibly complex process by which tadpoles (actual little mermaids) are somehow able to reabsorb their tails and fashion their future frog legs.”

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“This is a strange book: visionary and dark. It stutters out a kind of music: repeated phrases which accumulate errors and mutate as they go like chromosomes or, as Woodward puts it better, 'visible fissile ribbons.' It's as if we were present for the moments of creation and extinction. Uncanny Valley is ominous and beautiful.”

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“As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.”

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“I am attracted to looking at the different things language can mean even in one sometimes quite ordinary utterance. Writing is partly about listening closely to yourself as you think or compose and being aware of the different tensions and weights among the words, the different directions any one of them could lead. I like to play with the multiplicity and instability of meaning partly out of a sense of adventure, to see where that takes me and partly in a whistling past the graveyard kind of way because, of course, sensing stable meaning fall away can be scary.”

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“I tend to like the way poets form communities. Writing can be lonely after all. Modern life can be lonely. Poets do seem to be more social than fiction writers. This could be because of poetry's roots in the oral tradition - poetry is read aloud and even performed. I'm just speculating, of course. At any rate, because poets form these groups, they learn from one another. That is one of the best things about being a poet.”

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“People probably long for something genuinely personal in a society where the personal is often indistinguishable from the "personalized." Maybe the poetry audience member is searching for his or her own "personal space" and they expect the poet to be a sort of avatar of the private life. But that sort of representation is distasteful to me. Asking a poet to represent the personal life is, paradoxically, to turn the poet into something other than a person.”

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“Poets tend to form loose groups - the "Romantics" or the "Imagists". And sometimes they write manifestoes in the name of these groups. This can be good. It forces the poet and the audience to think. But it can also be dangerous. It can turn into a branding device so that potential readers believe they know all they need to know once they know you've been associated with a certain group or position. It can freeze things in place. That's where thinking stops.”

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“Like most of my poems, 'Lie' has several sources: I read a very troubling book called The Sixth Extinction. I took note of the way people, including me, enjoy talking knowledgeably about how the world will end. I drove to Tucson and saw the desert flowering on either side of the road. And I glanced at my spam to see what people wanted to sell me these days.”

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