Sensing+an+Audience

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==[|Paris Review Interview] [|No. 48 - The Art of Fiction] with Anthony Burgess==

Where would Shakespeare have got if he had thought only of a specialized audience? What he did was to attempt to appeal on all levels, with something for the most rarefied intellectuals (who had read Montaigne) and very much more for those who could appreciate only sex and blood. I like to devise a plot that can have a moderately wide appeal. But take Eliot’s //The Waste Land//, very erudite, which, probably through its more popular elements and its basic rhetorical appeal, appealed to those who did not at first understand it but made themselves understand it. The poem, a terminus of Eliot’s polymathic travels, became a starting point for other people’s erudition. I think every author wants to //make// his audience. But it’s in his own image, and his primary audience is a mirror.

Paris Review Interview [|No. 15 - The Art of Poetry] with Anne Sexton
//Interviewer: what part of the poem is the prickliest part?// //Sexton:// Punctuation, sometimes. The punctuating can change the whole meaning, and my life is full of little dots and dashes. Therefore, I have to let the editors help me punctuate. And, probably the rhythm. It’s the thing I have to work hardest to get in the beginning—the feeling, the voice of the poem, and how it will come across, how it will feel to the reader, how it feels to me as it comes out. Images are probably the most important part of the poem. First of all, you want to tell a story, but images are what are going to shore it up and get to the heart of the matter—but I don’t have to work too hard for the images—they have to come—if they’re not coming, I’m not even writing a poem, it’s pointless. So I work hardest to get the rhythm, because each poem should have its own rhythm, its own structure. Each poem has its own life, each one is different.


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