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Marilyn Hacker quotes

The ambiguities of language, both in terms of vocabulary and syntax, are fascinating: how important connotation is, what is lost and what is gained in the linguistic transition.

The woman poet must be either a sexless, reclusive eccentric, with nothing to say specifically to women, or a brilliant, tragic, tortured suicide.

Clearly, once the student is no longer a student the possibilities of relationship are enlarged.

Good writing gives energy, whatever it is about.

Translation is an interestingly different way to be involved both with poetry and with the language that I've found myself living in much of the time. I think the two feed each other.

As a teacher you are more or less obliged to pay the same amount of attention to everything. That can wear you down.

Community means people spending time together here, and I don't think there's really that.

Everyone thinks they're going to write one book of poems or one novel.

I don't know whether a poem has be there to help to develop something. I think it's there for itself, for what the reader finds in it.

I don't think it's by accident that I was first attracted to translating two French women poets.

I think there is something about coming to a city to work that puts you in touch with it in a different way.

I worked at all kinds of jobs, mostly commercial editing.

Paris is a wonderful city. I can't say I belong to an especially anglophone community.

The phenomenon of university creative writing programs doesn't exist in France. The whole idea is regarded as a novelty, or an oddity.

The pull between sound and syntax creates a kind of musical tension in the language that interests me.

There is something very satisfactory about being in the middle of something.

Given the devaluation of literature and of the study of foreign languages per se in the United States, as well as the preponderance of theory over text in graduate literature studies, creative writing programs keep literature courses populated.

I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.

I lived in the studio apartment that I bought for four years before I bought it in 1989, so I was already in it. I began living there in 1985, so I've had the same address and phone number since then.

I started to send my work to journals when I was 26, which was just a question of when I got the courage up. They were mostly journals I had been reading for the previous six or seven years.