Bio (Sort of)
in the shadow of the bleeding horse: truths, lies and silence
born in new hampshire. no memories.
family moved to new york early on.
normal childhood, i suppose, but i was happy to escape it.
at some point, i'm told, my personality was fully formed
and there was no going back.
a lot of memories of drunken adults, of being told to
go and play.
learn to read.
2. glorious youth
the usual obsessions w/ sex-death-loud music.
age fourteen, start writing.
all notebooks for the next 7-8 years luckily lost.
an occasional loner,
early attempts at being an outcast.
long hair, ripped clothes, the discovery of punk rock,
and of channeling anger into something creative.
4 years of college, major in art,
minor in creative writing,
both of which involve zero job skills.
first published work in 1988.
years of dishwashing and cooking follow graduation.
3. four walls
2 room apt., a stereo, a bed, a toaster.
blankets over the windows in the winter.
master the art of the lower case
and the negation of punctuation.
letters from editors accusing me of being a racist/
a no-talent dog.
continued obsession with sex-death-loud music.
first collection published in 1991.
4. more walls
fall in love, bigger apartment, marriage.
house, children, new typewriter, computer.
same old notebooks.
first full-length collection published in 2002.
5. roots, influences
try to write like myself, no one else.
the power of margaret atwood is undeniable.
mostly inspired by non-writers.
richter/the translation of the visual into something written.
same attitude applies to music.
6. theories on writing
to talk about art is the death of art.
let it define itself.
am i my poems? yes and no.
in person, a smartass.
the flipside is the writing. no less real.
the poem is the moment.
study the history of poetry? why?
anger and catharsis.
what else do you need?
the drowning boy is real,
and the god of starving dogs,
and the burning girl,
and the woman who loves pain.
i knew them, or knew of them.
the house of the dying man exists.
the bleeding horse was born in the late '80s,
after a picasso sketch.
another five years before it would appear in a poem.
meanings? many of them, and all vague,
or possibly something concrete that's always shifting.
8. the future