Hopefully I make a whole bunch of lines happen every day, but I’m trying to write down at least one line every day. How do I write from a position that is Whitmanian and Dickinsonian, and yet understand that that position in and of itself, because it is the American position, means to kill me. I was thinking about the ways we are complicit in the same evils, the ways I am complicit. And that’s not what I want, either. That’s just crazy talk! There are formal craft considerations here, but many tangents and black southern code-switches, too. I have lots of ideas, but some things are a little unfair for me to say.

I see you interacting with other poets and writers regularly. We say things that we don’t expect to say. We’re really trying to see what we can do when we write a poem. And so the normal thing is actually to allow yourself to be raped and not say anything about it. I love that y’all have that podcast and that y’all just sit around and talk about a poem a piece. The reason why Josephine Baker could do the kind of espionage that she did during World War II is because the Nazis wanted to hear Josephine Baker. And if that’s the case, if our thinking does indeed change, then it follows that we have no choice but for our actions to also change. It’s a persona speaking back to the creator of the persona.

What do I have if I have a person who is also a machine who has no thought or feeling of the fact of the dead body? My mother’s people were sharecroppers, too, although my mother never wanted to say her people were “sharecroppers.” Instead, she would always say her people were “tenant farmers.”. It’s always interesting to hear a black person say tenant farmers. I mean I hear voices, and I can’t make out what they’re saying so I have to imagine what they are saying given their tones or given what their mumbling sounds like. So I’m like, “Oh, if I can make the syllabic structure loose, like instead of saying it has to be a nine-syllable line, if I say nine to eleven syllables, then I’m dealing with something that also will, because of American English, be related to iambic pentameter.”. Do you understand what I mean? I’ve always said that one of the most important days of my life—I’d given a reading at a Cave Canem anniversary, or something—this is before I’d had a book come out. How has your writing changed from the early years? I think everybody’s okay with the fact that they’re influenced by different people and different kinds of poetry. -@JHammons So that’s part of my thing with Milton, and you know I’ve been working with rhymes a lot and for whatever reason he was the guy I kept turning to to figure out how to make rhymes happen. I knew that there would be moments at which the reader would be questioning what was going on. What they think is necessary. It sets up several of the collection's unifying themes, and many of the poems subtly build to explosive revelations about violence against black people and sexual assault. I remind my students over and over that there’s a poem that does not exist that they’re trying to write. I might start weeping or something. Jericho Brown: I sort of had been thinking about gutting a sonnet. Finalist for the 15th Glass Woman Prize for her Creative Non-Fiction.

She has received fellowships from the Aspen Summer Words Conference, the Bread Loaf Writers’ Conference, the National Endowment for the Arts, and the Witter Bynner Fellowship through the Library of Congress, as well as an award from the Rona Jaffe Foundation and the Harper Lee Award for Literary Distinction, a lifetime achievement award. You can make something of it without ending up in tears. And there are some privileges we should not take advantage of. Interview: Pulitzer Prize winner's works inspired by Shreveport roots. How is it that I represent myself as a spirit? What did the poet do to make you fall in love with the poem? What are the hidden memories, the hidden metaphors, the hidden lines that are actually not so hidden in my mind?”. Those are the kinds of things that are of interest to me—that we actually make material out of what we are thinking about, and that we begin to question why we aren’t thinking about the things that are right in front of us.

The more students read poems, the more they become aware of what they think is boring. And so that’s what I mean about being skeptical and questioning. But I just refuse to accept that folks ain’t heard of Johnny Taylor. JB: But you know when you’re in San Diego, you’re not around as many black people as you are used to. If you have some talent, it helps, but the goal is to learn skill to the point where you can’t tell the difference between what you knew innately and what you got through study and practice. Jericho Brown is the recipient of a Whiting Writers' Award and fellowships from the John Simon Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard University, and the National Endowment for the Arts. The Tradition is ultimately about evil and the normalization of evil. Why are you making such a big deal out of this, is what she would think and say. I had to read all of Baldwin to accept that we still hurt one another.

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