Kevin Powers Quotes
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All pain is the same. Only the details are different.
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There's something immediate about the experience of reading a poem - whether it's the music or some other element of it - that just seems to access another part of the brain. You know, Charles Olson talks about this transfer of energy that happens between the writer and the reader of the poem. I guess there's something essential to me about acknowledging upfront the immensity of it - the difficulty of it - and even allowing that to be the subject.
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Poetry and prose are of equal importance to me as a reader, and there doesn't seem to be much difference in my own writing.
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The male role models I had all seemed to have been in the military. My father served in the army. My uncle was in the Marine Corps. Both of my grandfathers served in WWII. There weren't any career soldiers in my family, but when I was young it seemed like a way of arriving at adulthood.
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I understood that 'The Yellow Birds' would be a peculiar representation of the experience of being at war. I intended it to be so.
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The world makes liars of us all.
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I had the feeling that if I encountered anyone they would intuit my disgrace and would judge me instantly. Nothing is more isolating than having a particular history. At least that's what I thought. Now I know: all pain is the same. Only the details are different.
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There is a sharp distinction between what is remembered, what is told and what is true.
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I knew that at least a few of the stars I saw were probably gone already, collapsed into nothing. I felt like I was looking at a lie. But I didn't mind. The world makes liars of us all.
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In a lot of ways, the task at hand for any poem is to approach something that defies exactness or definition with a kind of exactness or precision.
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There's something immediate about the experience of reading a poem. It makes sense in my own mind, but I'm trying to figure out a way to articulate it... It's like looking at a painting: you're able to take in the totality of the work all at once, and so processing whatever information that painting is giving you is almost secondary to simply apprehending what's in front of you.
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I think a diversity of expression can only be good, so I think the more that people write about their experience, use their imagination to deal with their experience, you know, I think that's going to be good for not only for those authors but also for people who are interested in trying to understand it.
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I'm always most interested in writing about things that I don't understand.
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Noises and smells, those can bring back powerful memories. I remember when I was going to school one Fourth of July, and there were a lot of fireworks going off. I knew that I was in Richmond. I knew that I was a college student. But I thought people were shooting at me.
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You want to fall, that's all. You think it can't go on like that. It's as if your life is a perch on the edge of a cliff and going forward seems impossible, not for a lack of will, but a lack of space. The possibility of another day stands in defiance of the laws of physics. And you can't go back. So you want to fall, let go, give up, but you can't. And every breath you take reminds you of that fact. So it goes.
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Michael Koryta's THOSE WHO WISH ME DEAD is an absolutely thrilling read. I read most of it with my breath held, occasionally exhaling to ask myself, 'What will happen next?' I highly recommend it.
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There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.
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It reminded me of talking, how what is said is never quite what was thought, and what is heard is never quite what was said. It wasn’t much in the way of comfort, but everything has a little failure in it, and we still make do somehow.
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But I remember being told that the truth does not depend on being believed.
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To understand the world, one’s place in it, is to be always at the risk of drowning.
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Joining the military is not to be taken lightly. You're putting every part of yourself at risk, not just your body but your moral and spiritual centre.
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One of the things my service in Iraq did give me was this freedom from fear of failure or any kind of expectations that I had to take a standard path.
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The details of the world in which we live are always secondary to the fact that we must live in them.
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Writing was always an aspiration, but I'd kept it a secret even from myself.
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I wanted something that I could look back on and say, yes, you were fighting too, you burned to be alive, and whatever failure or accident of nature caused you to be killed could be explained by something other than the fact that I'd missed your giving up.
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The war came to me in my dreams and showed me its sole purpose: to go on, only to go on.
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I guess I find the boundaries between poetry and prose to be somewhat permeable.
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I've been writing poems and stories since I was about 13.
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The war tried to kill us in the spring. As grass greened the plains of Nineveh and the weather warmed, we patrolled the low-slung hills beyond the cities and towns. We moved over them and through the tall grass on faith, kneading paths into the windswept growth like pioneers. While we slept, the war rubbed its thousand ribs against the ground in prayer.
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I know that the writers I read and admire all have an influence on my work, but trying to determine to what degree any particular piece of input changes the way I think about writing seems counterproductive.
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