It's the classic story form. All staying equal, or proving equal, or being equal, this will all continue, and the next time around, we'll move on to see what happened to Harry after he dove in the river, or who his friend John really was, and so on.
Robert Creeley

And what's fascinating in The Ten Thousand Things is that although there's time, an inexorable time of the three generations of lives, actively present, but place is the time, time doesn't really have to do with simply the human experience of it.
Robert Creeley

The irony of our social group is that so often everyone feels this, but there's no company whatsoever in that feeling. Think of Pound's great emphasis, the way out is via the door.
Robert Creeley

You were saying that once when visiting Yale, you were struck that unlike Pound, Williams's thinking was volatile, I mean, did not stay locked into a pattern of concepts that then defined his subsequent necessary behavior, whereas Pound did.
Robert Creeley

There are a lot of editorials that have nothing to do with anything like that. But I was just thinking of that sense of prose as being very responsible and perceptive, thoughtful, intimate, and contriving a quote statement.
Robert Creeley

First you wonder if they're separate stories, but no, they're not, they're contingent stories and they form a pattern. And you begin with some of the island as the place to which the heroine of the book returns.
Robert Creeley

It's as though all the terms of a family were present at one time rather than his dad and his mum. Not just a present authority, but the resident memory of what qualifies what else is the case.
Robert Creeley