There are numerous cases of that, where one of our writers discovers another writer whom he likes, and we then take that book on. So its a very close relationship. We can do that because were so small. – James Laughlin
Then, of course, there are those sad occasions when a poet or a writer has not grown, and one has to let them go because theyre just not making headway. But we have a very clear personal relationship with the authors. – James Laughlin
Concrete poets continue to turn out beautiful things, but to me theyre more visual than oral, and they almost really belong on the wall rather than in a book. I havent the least idea of where poetry is going. – James Laughlin
I think that concrete poetry seems to have, as far as I can see, come to a kind of a dead end. It doesnt seem to be going any further than it went in its high period of about five or six years ago. – James Laughlin
I think that is where poetry reading becomes such an individual thing. I mean I have friend who like poets who just dont say anything to me at all, I mean they seem to me rather ordinary and pedestrian. – James Laughlin
I think theres no excuse for the American poetry reader not knowing a good deal about what is going on in the rest of the world. – James Laughlin
I think we will always have the impulse towards visual poetry with us, and I wouldnt agree with Bly that its a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention. – James Laughlin
Of course a poem is a two-way street. No poem is any good if it doesnt suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important. – James Laughlin
We dont attempt to have any theme for a number of the anthology, or to have any particular sequence. We just put in things that we like, and then we try to alternate the prose and the poetry. – James Laughlin
