How do you choose/develop imagery?
Wow. I should pay more attention to imagery. I wasn’t aware that it played such a role in these poems. I choose images because I like them, because I can’t see anything else, because they are the truest things at the time. They develop, I guess, because I’m not done with them, they are still important – I do not understand them yet, therefore I try to see them from lots of angles. Maybe it’s something like trying to write a “multiple perspective” research paper, but there’s no where to go for the research?
The Lobsterman is someone we all need. He is indifferent, yet compassionate. Maybe he’s a sort of Buddha figure. I think that you could ask me this question again and I’d have a different opinion. But the lobsterman would remain consistently gentle and kindhearted. In this role, he is what I strive to be.
Maybe this space is thought, a pause, a breath, after the previous stanza. It is also distance, it is narrative movement from all of the tangled legs and shopping carts (probably bent and battered) and something new. It is also the denial of the hydrogen atom, denial of the potential of it.
I don’t like to choose forms, but maybe they are according to breath. You must read Charles Olson’s Projective Verse. We don’t think about breathing, and I don’t map out where a poem will land on a page. But they land.
It was part of my dissertation, so, vaguely, in the back of my mind, I thought of it as something that a character (Harry) might see. Also, I have seen many people sit very still on green benches in parks. It makes me wonder. Also, it’s true that we (some) would like to believe that capitalists are not human, but they are. We all are.