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Robert Creeley

First you wonder if they're separate stories, but no, they're not, they're contingent stories and they form a pattern. And you begin with some of the island as the place to which the heroine of the book returns.

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There are a lot of editorials that have nothing to do with anything like that. But I was just thinking of that sense of prose as being very responsible and perceptive, thoughtful, intimate, and contriving a quote statement.

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You were saying that once when visiting Yale, you were struck that unlike Pound, Williams's thinking was volatile, I mean, did not stay locked into a pattern of concepts that then defined his subsequent necessary behavior, whereas Pound did.

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And what's fascinating in The Ten Thousand Things is that although there's time, an inexorable time of the three generations of lives, actively present, but place is the time, time doesn't really have to do with simply the human experience of it.

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It's the classic story form. All staying equal, or proving equal, or being equal, this will all continue, and the next time around, we'll move on to see what happened to Harry after he dove in the river, or who his friend John really was, and so on.

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