We don't attempt to have any theme for a number of the anthology, or to have any particular sequence. We just put in things that we like, and then we try to alternate the prose and the poetry.
James Laughlin

We do very little re-writing in the office. We often take on people who show great promise and who we hope will develop into somebody important and someone good.
James Laughlin

I think most people read and re-read the things that they have liked. That's certainly true in my case. I re-read Pound a great deal, I re-read Williams, I re-read Thomas, I re-read the people whom I cam to love when I was at what you might call a formative stage.
James Laughlin

Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.
James Laughlin

I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
James Laughlin

We see them when they come to New York. They stay at my wife's apartment. We have quite a correspondence with them at all times. They play a very important role, the authors in the firm, because so much of the material we publish is suggested by them.
James Laughlin

Often something comes in from which you can see that the person is good, the book may not be perfect as it is, and the person doesn't want to do a re-write. That's something we do almost nothing of.
James Laughlin

There are numerous cases of that, where one of our writers discovers another writer whom he likes, and we then take that book on. So it's a very close relationship. We can do that because we're so small.
James Laughlin