Each time I write, each time the authentic words break through, I am changed. The older order that I was collapses and dies. I lose control. I do not know exactly what words will appear on the page. I follow language. I follow the sound of the words, and I am surprised and transformed by what I record.

But still, the other voice, the intuitive, returns, like grass forcing its way through concrete.

Telling a story of illness, one pulls a thread through a narrow opening flanked on one side by shame and the other by trivia.

This earth is my sister; I love her daily grace, her silent daring, and how loved I am. How we admire this strength in each other, all that we have lost, all that we have suffered, all that we know: We are stunned by this beauty, and I do not forget: what she is to me, what I am to her.

Is it a coincidence that stories from the private life became more popular just as the grand hope for public redemption through revolution was beginning to sour? I witnessed a similar shift in taste in my own time. In the 1960s, while a hopeful vision of a just society arose again, countless poems and plays concerning politics and public life were written, read, and performed. But after the hope diminished and public life seemed less and less trustworthy, this subject was less in style.

What is buried in the past of one generation falls to the next to claim.

I think artists can go to a level of vision that can often save us from a situation which seems to have no solution whatsoever.