“Vito Acconci’s extraordinary career—poetry, art, architecture: a sort of triathlon of the arts—began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers’ Workshop. But when he came back to New York in the early ’60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading.”

— Shelley Jackson

Shelley Jackson, in: Shelley Jackson talks with Vito Acconci http://www.believermag.com/issues/200612/?read=interview_acconci, in: The Believer, Nr. 12. 2006.

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Shelley Jackson1

a writer and artist known for her cross-genre experiments 1963

William McKeen (1954) American academic

Source: Outlaw Journalist (2008), Chapter 5, Observer, p. 74

“When a poet is being a poet — that is, when he is writing or thinking about writing — he cannot be concerned with anything but the making of a poem.”

Richard Wilbur (1921–2017) American poet

National Book Award Acceptance Speech (1957)
Context: When a poet is being a poet — that is, when he is writing or thinking about writing — he cannot be concerned with anything but the making of a poem. If the poem is to turn out well, the poet cannot have thought of whether it will be saleable, or of what its effect on the world should be; he cannot think of whether it will bring him honor, or advance a cause, or comfort someone in sorrow. All such considerations, whether silly or generous, would be merely intrusive; for, psychologically speaking, the end of writing is the poem itself.

“Everything a writer learns about the art or craft of fiction takes just a little away from his need or desire to write at all. In the end he knows all of the tricks and has nothing to say.”

Raymond Chandler (1888–1959) Novelist, screenwriter

“A friend came over to the house
a few days ago and read one of my poems.
He came back today and asked to read the
same poem over again. After he finished
reading it, he said, "It makes me want to write poetry."”

Richard Brautigan (1935–1984) American novelist, poet, and short story writer

"Hey! This Is What It's All About"
The Pill Versus the Springhill Mining Disaster

“I had gone thoroughly through some of the all-fiction magazines and I made up my mind that if people were paid for writing such rot as I read I could write stories just as rotten. Although I had never written a story, I knew absolutely that I could write stories just as entertaining and probably a lot more so than any I chanced to read in those magazines.
I knew nothing about the technique of story writing, and now, after eighteen years of writing, I still know nothing about the technique, although with the publication of my new novel, Tarzan and the Lost Empire, there are 31 books on my list. I had never met an editor, or an author or a publisher. l had no idea of how to submit a story or what I could expect in payment. Had I known anything about it at all I would never have thought of submitting half a novel; but that is what I did.
Thomas Newell Metcalf, who was then editor of The All-Story magazine, published by Munsey, wrote me that he liked the first half of a story I had sent him, and if the second half was as good he thought he might use it. Had he not given me this encouragement, I would never have finished the story, and my writing career would have been at an end, since l was not writing because of any urge to write, nor for any particular love of writing. l was writing because I had a wife and two babies, a combination which does not work well without money.”

Edgar Rice Burroughs (1875–1950) American writer

How I Wrote the Tarzan Books (1929)

“I'm really serious about this writing thing. What time I haven't been writing, I've been reading: Thomas Wolfe, if you know who he is. His writing is mostly built about the central character of a writer, himself. Altho it's fiction, it deals with his life and experiences. In my opinion, little as it's worth, he is the greatest writer that has lived, Shakespeare included. He is a genius.”

James Jones (1921–1977) American author

Letter to his brother Jeff, from Hawaii (7 April 1941); p. 11
To Reach Eternity (1989)

“A successful poem says what a poet wants to say, and more, with particular finality. The remarks he makes about his poems are incidental when the poem is good, or embarrassing or absurd when it is bad — and he is not permitted to say how the good poem is good, and may never know how the bad poem is bad. It is better to write about other people's poetry.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"Answers to Questions," from Mid-Century American Poets, edited by John Ciardi, 1950 [p. 171]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“SHELLEY JACKSON: You began as a writer, moved to performance art, then architecture. I’d like to follow the traces of writing through your career, and see whether your late work could be rethought as a radically materialist practice of writing. What made you want to write?
VITO ACCONCI: I wanted to be involved with the making of some kind of parallel world. I thought, there’s no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I’m not sure if I can tell.”

Vito Acconci (1940–2017) Designer, landscape architect, performance and installation artist

Shelley Jackson talks with Vito Acconci http://www.believermag.com/issues/200612/?read=interview_acconci, in: The Believer, Nr. 12. 2006.

“The writer has a fundamental responsibility to write well or to write the best he can, because if he doesn’t he’s not a writer. And when a writer writes, he’s always referring to a social and historical context…”

Reinaldo Arenas (1943–1990) Cuban poet/novelist/playwright

Source: On a writer’s responsibility in “The Literature of Uprootedness: An Interview with Reinaldo Arenas” https://www.newyorker.com/books/page-turner/the-literature-of-uprootedness-an-interview-with-reinaldo-arenas in The New Yorker (2013 Dec 5)

“An author frequently chooses solemn or overwhelming subjects to write about; he is so impressed at writing about Life and Death that he does not notice that he is saying nothing of the slightest importance about either.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"Ten Books," The Southern Review (Autumn 1935) [p. 9]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

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