Your poetry is not difficult to understand.  Doesn’t that mean it’s not really very good?

I think it’s possible to be both challenging and accessible.  I believe that poetry belongs to everyone. There’s a stupid-smart game being played by lots of poets:  If the poet writes a poem that makes other people feel stupid when they try to read it, that elevates the poet up to a seat on the smart pedestal.  It’s disgusting.  What’s astonishing is how many smart people buy into it.


Who are some contemporary poets who are important to you?

Marie Howe, Stephen Dunn, Tony Hoagland, Dorianne Laux, Steve Scafidi, Alice Friman, Larry Levis, Judson Mitcham, Kay Ryan, Mary Ruefle, Bob Hicok, Robert Hass, Jan Beatty, Robert Cording, and Charles Harper Webb.


What are some of your opinions about writing poetry?

–It’s a mistake to try to write to fulfill one’s idea of a poem.  My successful poems always go beyond my original idea, and sometimes they end up having nothing to with what I thought my topic was.  My rule of thumb is When in the throes of composition, be flexible.  My best poems are a lot smarter than I am.

–Form (sonnets, villanelles, blank verse, nonce forms, etc.) is an obstacle for some poets–usually beginners–but it is a great help to the poet who learns how to use it.  It asks the poet to try lots of solutions to a single formal requirement (e.g., rhyme); therefore, it deepens the poet’s concentration and stretches the poet’s thinking and imagining.  Even when my poems appear to be free verse, I’m often imposing the discipline of a loose syllable count on the line.

–Abstraction almost always calls for a concrete example.

–Eschew wisdom unless it arrives unexpectedly and initially appears to be incorrect or at least problematic.

–Humor, too, should probably be unintentional.

–Direct quotation (of a voice other than the poet’s) can be an enlivening force in a poem.

–I try to aim for the poem that only I can write.  And though it’s rarely something I think about, I also believe that poems should speak out of the poet’s specific historical moment and culture.

–I believe that all serious creative writers, at some point in their evolution, must reckon with where they came from and their experience of growing up.  It is, of course, possible to do this imaginatively.


Do you believe that your poetry will, as they say, endure?

No.  And I’d rather it didn’t.

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DAVID HUDDLE is currently Distinguished Visiting Professor of Creative Writing at Hollins University. He taught for 38 years at the University of Vermont and continues to teach at the Bread Loaf School of English.Huddle’s work has appeared in TriQuarterly, The American Scholar, The Hudson Review, Story, Esquire, Harper’s, The New Yorker, Poetry, Best American Short Stories, The New York Times Book Review, Shenandoah, The Kenyon Review, and The Georgia Review. His novel, The Story of a Million Years (Houghton Mifflin, 1999) was named a Distinguished Book of the Year by Esquire and a best Book of the Year by the Los Angeles Times Book Review. In 2012, LSU Press will publish his seventh poetry collection, Black Snake at the Family Reunion, and Tupelo Press will publish his third novel, Nothing Can Make Me Do This

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