I think there's no excuse for the American poetry reader not knowing a good deal about what is going on in the rest of the world.

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• James Laughlin:

  I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bl

• James Laughlin:

  I try to write in plain brown blocks of American speech but occasionally set in an ancient word or

• James Laughlin:

  It's all well and good to say that Germans were all responsible for the concentration camps, but I

• James Laughlin:

  Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader thing

• James Laughlin:

  Often something comes in from which you can see that the person is good, the book may not be perfec

• James Laughlin:

  The German experience, as you can see, did move me very much. Seeing that terrible destruction and

• James Laughlin:

  Then, of course, there are those sad occasions when a poet or a writer has not grown, and one has t

• James Laughlin:

  There are numerous cases of that, where one of our writers discovers another writer whom he likes,

• James Laughlin:

  We do very little re-writing in the office. We often take on people who show great promise and who

• James Laughlin:

  We don't attempt to have any theme for a number of the anthology, or to have any particular sequenc