Robert Bly in Conversation

Here are some passages that resonated with me from the book Talking All Morning with Robert Bly, in the series Poets on Poetry published by the University of Michigan Press. Although Bly keeps referring to ‘he’ and ‘him’ when he talks about poets (typical of the late 1960s perhaps), I do agree to a large extent with his breakdown of poetic talent or craft.  

Let’s imagine the poem to be some kind of knife. The poet uses the poem to cut through the dead tissues in himself, and through certain filaments or sinews that are holding him to past patterns… But the poem can also be a two-edged knife, with two sharp edges. The whole thing moves like a pendulum and when the knife swings back, it swings away from the private and cuts into something public.

In Anglo-Saxon literary life we’ve always had the knife sharp only on one edge, with the other edge deliberately blunted, so that when it swung back into public life, it did not cut… It’s perfectly clear that Pasternak, by contrast, uses a two-edged knife…

Basho said, ‘To express the flavor of the inner mind, you must agonize during many days.’ That is a wonderful sentence! The purpose of it all is not to write long, endless poems, but to express the flavor of the inner mind… Two hours of solitude seem about right for every line of poetry.

The Japanese say the haiku is a poem in which there’s a tiny explosion inside – and if that’s not there, I don’t care how many syllables it has, then it’s not a haiku. And that little tiny explosion brings the life to this creature.


I dislike the word ‘craft’ when it comes to poetry. Craft suggest an inanimate object, as when we say a carpenter crafts a chest of drawers… Making the poem from the beginning involves three different areas of experience. The first … is interior… When the poet touches something for the first time, something far inside of him. It’s connected with what the ancients called The Mysteries… If any person comes near that experience he or she will never forget it the rest of his life. If he writes poetry it will come from that.

The second necessary stage… I would call something like cunning. And cunning involves the person’s rearranging his life in such a way that he can feel the first experience again. This is worldly and involves common sense… For Rilke… cunning meant finding long periods of solitude.

The third stage could be called ‘letting the animal live’… psychic energy. Living energy is more growing the tree than shaping it. In the US the emphasis on craft and technique comes too early, before the wood has been grown.

Taking care of animals is the best preparation for writing poems. When you write poems, you feed poems language. Instead of craft, I talk about ‘letting the creature live.

2 thoughts on “Robert Bly in Conversation”

  1. This is really insightful, Marina Sofia. A poem really is, in essence, a living thing. So, writing one isn’t really like, say, building a bookshelf. Poems are, to me, also a form of communication, which gives them even more power.

  2. Really interesting, thanks for sharing! I’m not a writer but as reader of poetry I definitely think there needs to be more than just craft to it, the spark of life that Bly mentions is it exactly.

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