My issues with it are that simply in terms of my own work. It represents 30 years of output. And some of the things, some of the pieces I've used there, when I first wrote them, they seemed probably very menacing, and I hear them now, and they're just kind of pleasant, if that's the word.
Richard MeltzerBasically, when I hear it now, I don't recognize myself directly in a lot of cases. I was expecting more menace. And the fact that it didn't seem menacing at first troubled me. Then I thought, What the hey, you know? I'm 66 years old, and I could just crack open a beer and listen to it, and it doesn't trouble me that it doesn't kill. Once upon a time, it probably would have.
Richard MeltzerIf I looked at some of these pieces as if this project was not spoken-word but just short anthology, I probably would have fussed with some of the sentences, you know? Syllabication and prosody and such crap. Because the printed word is etched in stone. But for reading purposes I accepted this book of texts in the manner in which I wrote them, no need to fuss. Most of the shorter stuff was written as poetry. Meaning lots of white space on the page.
Richard MeltzerNo matter what, I'm never going to get an anthology from an actual publisher, though I could always score another music anthology. But if this is going to be a document of a multiplicity of my writings, it'll do. It feels like a birthday party or something.
Richard MeltzerWhen you make it to eighty-four, then you're ready to sit back and think universal and systematic. I was a philosophy major a long, long time ago. At Stony Brook. You had something to do with some state university school?
Richard MeltzerThe first five years as a writer, I didn't know how to write at all. I couldn't write my way out of a white paper bag. And yet, I did some remarkable things. And later on, there were periods where I got this mission to find an articulate voice with rewrites and all. There were periods where I was as dense as Faulkner.
Richard Meltzer