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0:00.0 | Funds for bookworm are provided in part by Lannin Foundation. |
0:14.3 | You are a human animal. |
0:18.5 | You are a very special breed. Or you are the only animal. You are a very special breed, |
0:21.7 | for you are the only animal. |
0:25.7 | Who can think, who can reason, who can read? |
0:30.5 | The cow goes... |
0:31.0 | Hello, and welcome to Bookworm. |
0:32.8 | This is Michael Silverblatt, and today my guest is Mark Doty, |
0:36.3 | the author most recently of Sweet Machine, |
0:39.3 | published by the new imprint for literary books at Harper Collins called Harper Flamingo. |
0:46.5 | Sweet Machine is a book of poems. |
0:48.4 | It follows Atlantis and Maya Alexandria and Bethlehem in Broad Daylight. |
0:53.9 | He's also the author of a book of essays and egregies. and Maya Alexandria and Bethlehem in broad daylight. |
1:01.3 | He's also the author of a book of essays and elegy's memoir called Heaven's Coast. |
1:06.6 | Now, I sensed in this new book, Sweet Machine, an interest in shaping the book itself after the poem themselves had been shaped. |
1:19.5 | And it said that Yates conceived books as a whole, as a movement, |
1:26.9 | and that to read individuals poems in a whole, as a movement, and that to read |
1:28.7 | individuals poems and attempt to interpret them outside of the schema is |
1:35.2 | almost inevitably to misinterpret, Yates, some of whose poems become ironic in |
1:41.5 | the context of history and myth that the book fits them in. So I wanted |
1:46.7 | to ask you, first of all, is this book a shaped book and what are its contexts then? |
1:54.0 | I think that lyric poets are always looking for a way to break out of the prison of the lyric moment. |
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