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In the late 60s and early 70s, i did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
-Robert Morgan
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In The Late 60s And Early 70s,

Robert Morgan
In the late 60s and early 70s, i did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
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Topic
Real Talking Voice

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I used to smoke marijuana. but i'll tell you something: i would only smoke it in the late evening. oh, occasionally the early evening, but usually the late evening - or the mid-evening. just the early evening, midevening and late evening. occasionally, early afternoon, early mid-afternoon, or perhaps the late-midafternoon. oh, sometimes the early-mid-late-early morning. . . but never at dusk!
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When i began writing poems, it was in the late 60s and early 70s when the literary and cultural atmosphere was very much affected by what was going on in the world, which was, in succession, the civil rights movement, the antiwar movement, and the women's movement in the 60s, 70s, and into the early 80s. and all of those things affected me and affected my thinking, particularly the vietnam war.
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When i was a kid, a lot of my parents' friends were in the music business. in the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. so they were all working on that concept way early on. and i figured if they can do it, i could do it, too.
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For its part, government will listen. we will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
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I keep feeling that there isn't one poem being written by any one of us - or a book or anything like that. the whole life of us writers, the whole product i guess i mean, is the one long poem - a community effort if you will. it's all the same poem. it doesn't belong to any one writer - it's god's poem perhaps. or god's people's poem.
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If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then i destroy where it's not there, and i reconstruct it so that that voice is the dominant voice in the poem.
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Poets can tell the truth as they see it. it’s the author’s story, the author’s voice.
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Time cast a spell on you but you won't forget me, i know i could have loved you, but you would not let me. i'll follow you down 'til the sound of my voice will haunt you, you'll never get away from the sound of the woman that loves you
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