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" "(What does that say about the creative process of poetry?) I suppose it is an example of the inexplicability of the creative process. It works through ordinary feelings, familiar relationships, even when it sets itself a grand or historical challenge. But it seizes on what is hidden from everyday view, the strangeness in our dailiness that we need to make meaning of or for. The creative process is uncanny. It remains unknowable because it works with the not yet known. As for the conditions that support creativity, I know what I need as a poet. I need time-quiet time-and pen and paper.
Shirley Geok-lin Lim (born 1944) is an American writer of poetry, fiction, and criticism. She was both the first woman and the first Asian person to be awarded the Commonwealth Poetry Prize for her first poetry collection, Crossing The Peninsula (1980). In 1997, she received the American Book Award for her memoir, Among the White Moon Faces.
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I think that's what most writers do. They sit down and concentrate. It's as if you tap into your alpha waves. Otherwise, your mind is constantly wandering a the world calls out to it. That's ordinary, everyday consciousness. But I believe that the consciousness from which creativity comes is this intensity of focus that is the result of practice. Sylvia Plath wrote exercise poems. Writing poetry is itself a form of exercise, a discipline as much as it is a calling and an art. And a discipline always asks for exercise. I tell my students that you can't read about playing tennis in a book and then go out and be a good tennis player. You have to be out there hitting that ball and hitting it again and again to become the best tennis player possible. So if you want to be a good poet, you have to be working and working and working on the craft. Practice. Practice. Practice.