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Danh ngôn của Marilyn Hacker (Sứ mệnh: 3)

My mother was told she couldn't go to medical school because she was a woman and a Jew. So she became a teacher in the New York City public school system.
I started to send my work to journals when I was 26, which was just a question of when I got the courage up. They were mostly journals I had been reading for the previous six or seven years.
I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.
Translation is an interestingly different way to be involved both with poetry and with the language that I've found myself living in much of the time. I think the two feed each other.
When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.
Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
Everyone thinks they're going to write one book of poems or one novel.
As a teacher you are more or less obliged to pay the same amount of attention to everything. That can wear you down.
You are almost not free, if you are teaching a group of graduate students, to become friends with one of them. I don't mean anything erotically charged, just a friendship.
'Love, Death and the Changing of the Seasons' is a kind of novel in verse about the arc of an urban lesbian love affair - and I suppose there is a certain amount of voyeurism in the consumption of fiction! The 'Sancerre' poems here are more contemplative and about the relationship of the individual to local and wider histories.