You pay your money, you take your choice. I get the audience my language attracts and I lose the ones it repels.
I'm aware of my audience in a way, and I do try to engage with them while I'm trying to go about my business of thinking. I believe they help me by providing a focus.
Stories are different every time you tell them - they allow so many possible narratives.
When you grow up in a family of languages, you develop a kind of casual fluency, so that languages, though differently colored, all seem transparent to experience.
The ancient Greek oral poets all had this anxiety about the deficiencies of their memories and always began poems by praying to the Muse to help them remember.
The self is an oral society in which the present is constantly running a dialogue with the past and the future inside of one skin.
There is probably no oral society that fails to mark the spatial distinction of left and right, peculiar as this distinction may be.
It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.
A myth is the name of a terrible lie told by a smelly little brown person to a man in a white suit with a pair of binoculars.
The Sophists' paradoxical talk pieces and their public debates were entertainment in 5th century Greece. And in that world, Socrates was an entertainer.
From this entertainment industry, may the gods of language protect us.
When I got to the reading all the work, I was reduced to being an actor in an experimental play that I'd already written. And I didn't want to be an actor.
While I've had a great distaste for what's usually called song in modern poetry or for what's usually called music, I really don't think of speech as so far from song.
I hardly remember how I started to write poetry. It's hard to imagine what I thought poetry could do.
I've always had a strong feeling for the Statue of Liberty, because it became the statue of my personal liberty.