Teaching and writing have tended to proceed on parallel lines, but there have been times when there was indeed carry-over from the classroom to the creative work.
Once a poet calls his myth a myth, he prevents the reader from treating it as a reality; we use the word “myth” only for stories we ourselves cannot believe.
Which led me into a new appreciation of middle [William Butler ] Yeats, of the short three-beat line and forward-driving syntax, and that paid in, in turn to a poem like Casualty in Field Work.
In the 1970s, for example, I found myself learning to relish the poetry of Andrew Marvell and Sir Thomas Wyatt, and getting a handle on poetry of plainer speech than I had dwelt with heretofore.
The unadmitted reason why traditional readers are hostile to e-books is that we still hold the superstitious idea that a book is like a soul, and that every soul should have its own body.
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