ARUN RATH, HOST:
Our country has never had a poet laureate, probably, who was so ambivalent about the job as Donald Hall. He only went to his office once. Hall has never fit in well with convention. Decades ago, he quit his job as a tenured professor and was a huge success as a freelance writer and poet. At 86, he's still writing, but seems to have left poetry behind. His new book is called "Essays After 80." Donald Hall, welcome to the program.
DONALD HALL: Hello, good to talk with you.
RATH: So you write that - you say you have stopped writing poetry.
HALL: Yes.
RATH: When did you stop, and how did it come on?
HALL: Oh, I guess it was about three years ago. And I realized I didn't have it anymore, and it's just getting old. I think you need higher testosterone levels to write poetry than I have at the moment. But fortunately, I can still write prose.
RATH: Was it unnerving, you know, to lose that?
HALL: No, because it was gradual. I had the sense of poetry fading on me - or me fading on poetry - for several years. And then I would think no, this is good, and then six months later, it wasn't so good. And so I saw it coming. I didn't really see these essays coming, and I'm very glad they came.
RATH: How is - how is that different? What is - why is it you can do that? Because the prose is awfully poetic. It's pretty beautiful.
HALL: I know. Sorry.
(LAUGHTER)
HALL: I think it is, too. But I...
RATH: You're allowed to be immodest now, I think.
HALL: Yes, my strong suit. But prose is not so dependent on sound. The line of poetry, with the breaking of the line - to me, it's - sound is the kind of doorway into poetry. And that - my senses or my ability to control it lapsed or grew less. I still use it in prose, but the unit is the paragraph. I had 60 years of writing poetry. I shouldn't complain now.
RATH: Well, you're writing these essays about that sensuality of poetry. You have this great line that - the most erotic poem in English is "Paradise Lost."
HALL: I like that line. Thanks. Yeah. Yeah.
RATH: Explain that for us.
HALL: Oh, the - Milton's beauty of sound and sensuality - it is all a pleasure of the mouth saying it. "Paradise Lost," as we know it, is a - almost a Puritan poem, but not in the mouth. It's not a Puritan poem.
RATH: You've been doing poetry readings for a very long time now.
HALL: I know. I wish I had some notion of how many. I don't, really.
RATH: You have a pretty funny story about how your age has affected how your audiences respond to your readings.
HALL: Yes, yes.
RATH: They gave you kind of the wrong idea about one poem.
HALL: Yeah, that's right. That's right. I began reading with a new poem which eventually turned out to be no good, but I had hoped it was. And it was thinking about what my grandfather would think now to see me. And when I read the poem, I had just entered on the stage so creeping, you know, and bent over and so on. And after that poem, there was a pause, and then there was a standing ovation. And I couldn't believe it. What a wonderful poem I must have written, but no. They felt as if they had seen - I think I wrote - a cadaver gifted with speech.
RATH: (Laughter).
HALL: And they were applauding me - at least, partially - because they knew they'd never see me again.
RATH: (Laughter) You - this book - it's titled "Essays After 80."
HALL: Right.
RATH: You're an old guy now.
HALL: Yeah.
RATH: People, I think, especially in this country, are terrified of aging. But you write that death has kind of become boring for you.
HALL: Yeah, it's strange. I really feel better about aging at the age of 86 than I did at 70. And I cannot drive. I can't walk except by pushing a Rollator. But I feel a great deal of energy and excitement. And obviously, death is ahead of me. I don't look forward to dying one little bit. But, you know, I simply don't worry about it because it's going to happen to me as it does to anybody.
RATH: Is the survival of your poetry - is that - does that give you some immortality?
HALL: At some point in this book, I said that I expect my immortality to cease about seven minutes after my funeral. I have seen so many poets who were famous, who won all sorts of prizes disappear with their death. I write as good as I can and don't try to turn that into some hope for a future that I could never know. But I've had some people tell me that they knew they were great and that they would live in literature forever. And my response is to pat them on the back and say maybe you'll feel better tomorrow.
RATH: (Laughter) Donald Hall is one of America's greatest poets. His new prose collection "Essays After 80" is out now. Donald Hall, thank you so much.
HALL: It's a pleasure to talk with you.
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https://www.npr.org/transcripts/368013634以下是詩人唐納德·霍爾與《紐約客》編輯之間的互動和溝通結果。
您也可以搜尋詩人唐納德·霍爾與《紐約客》編輯之間的互動和通信。
人工智慧概述
詩人唐納德·霍爾（1928–2018）與《紐約客》雜誌保持了長達六十餘年的專業合作關係，始於1954年，直至去世。他與該雜誌的互動以與編輯長期而尊重的通信為特徵，從早期嚴謹的詩歌投稿到後期在他最後的“創作爆發期”創作的充滿個人情感的散文，風格不斷轉變。
重要互動與編輯關係
長達數十年的貢獻：霍爾為《紐約客》雜誌撰稿超過六十年，他的第一首詩作發表於1954年。
最後的編輯/通訊員：在他生命的最後幾年，他與編輯漢娜·艾森曼（Hannah Aizenman）以及與他後期非虛構作品相關的編輯團隊保持著密切的溝通，其中包括在他2018年去世前不久發表的作品。
「後宮」與編輯團隊的互動：霍爾曾戲稱自己擁有一個「後宮」——一群通訊員和編輯，他們在他晚年幫助他管理工作流程和信件往來，尤其是在他繼續在新罕布什爾州的農舍裡撰寫關於衰老的文章期間。
八十歲之後的文章：他與《紐約客》的後期通信涉及他廣受好評的關於老年生活的文章的發表，包括《窗外》（2012）和《死亡的詩篇》（2017）。
《死亡之詩》（2017）：這篇文章是對他與《紐約客》長期合作的總結性反思，探討了死亡以及他畢生的創作。
書信往來的主題
修改與精益求精：霍爾以其嚴謹的修改流程而聞名，他經常與《紐約客》分享草稿並徵求意見，最終才定稿。
書信即“社交”：霍爾將他的書信往來比作他的“社交”，他經常通過書信來維繫與詩人及編輯的友誼和職業聯繫。
值得一提的是
威廉·麥克斯韋：威廉·麥克斯韋雖然是《紐約客》的長期編輯，但在搜尋結果中並未被明確列為霍爾的直接編輯，而是作為霍爾認識並敬佩的一位人物，兩人曾有過深入的交流。
《巴黎評論》：儘管霍爾也為《紐約客》撰稿，但他早期最引人注目的編輯往來是與《巴黎評論》的喬治·普林頓，霍爾是該雜誌的首任詩歌編輯。
2018 年霍爾去世時，《紐約客》雜誌撰文紀念他，稱他是美國詩歌界的代表人物，並著重介紹了他的「坦率、常常詼諧的風格以及敏銳的人文情懷」。
These are results for interactions and correspondence between Poet Donald Hall and new yorker editor
Search instead for interactions and correspondense between Poet Donald Hall and new yorker editor
Poet Donald Hall (1928–2018) maintained a professional relationship with The New Yorker for over sixty years, beginning in 1954 and continuing until his death. His interactions with the magazine were characterized by a long-lasting, respectful correspondence with editors, transitioning from early, precise poetry submissions to later, deeply personal essays during his final "burst of creativity".Key Interactions and Editorial Relationships- Decades-Long Contribution: Hall contributed to the magazine for more than six decades, with his first poems appearing in 1954.
- Final Editor/Correspondent: In his final years, his primary interactions regarding his work were with editor Hannah Aizenman, as well as editorial staff associated with his later, non-fiction work, including pieces published just before his death in 2018.
- "The Harem" and Staff Interaction: Hall famously joked about his "harem"—a group of correspondents and editors who helped manage his workflow and correspondence in his later years, particularly as he continued writing essays on aging from his New Hampshire farmhouse.
- Essays After Eighty: His later correspondence with The New Yorker involved the publication of his critically acclaimed essays about old age, including "Out the Window" (2012) and "The Poetry of Death" (2017).
- "The Poetry of Death" (2017): This piece served as a concluding reflection on his long association with the publication, meditating on mortality and his life's work.
Themes in Correspondence- Revision and Precision: Hall was known for his diligent revision process, often sharing drafts and seeking input before finalizing work with The New Yorker.
- Letters as "Society": Hall described his correspondence as his "society," often using letters to maintain friendships and professional connections with poets and editors.
Notable Mentions- William Maxwell: While a long-time editor at The New Yorker, William Maxwell is not explicitly cited in the search results as Hall's direct editor, but rather as a figure Hall knew and admired, with whom he had intimate conversations.
- The Paris Review: Although a New Yorker contributor, Hall's most notable early editorial correspondence was with George Plimpton at The Paris Review, where he served as the first poetry editor.
The New Yorker honored Hall upon his passing in 2018 as a defining voice in American poetry, highlighting his "candid, often droll style with a keenly humane sensitivity".
Search instead for interactions and correspondense between Poet Donald Hall and new yorker editor
- Decades-Long Contribution: Hall contributed to the magazine for more than six decades, with his first poems appearing in 1954.
- Final Editor/Correspondent: In his final years, his primary interactions regarding his work were with editor Hannah Aizenman, as well as editorial staff associated with his later, non-fiction work, including pieces published just before his death in 2018.
- "The Harem" and Staff Interaction: Hall famously joked about his "harem"—a group of correspondents and editors who helped manage his workflow and correspondence in his later years, particularly as he continued writing essays on aging from his New Hampshire farmhouse.
- Essays After Eighty: His later correspondence with The New Yorker involved the publication of his critically acclaimed essays about old age, including "Out the Window" (2012) and "The Poetry of Death" (2017).
- "The Poetry of Death" (2017): This piece served as a concluding reflection on his long association with the publication, meditating on mortality and his life's work.
- Revision and Precision: Hall was known for his diligent revision process, often sharing drafts and seeking input before finalizing work with The New Yorker.
- Letters as "Society": Hall described his correspondence as his "society," often using letters to maintain friendships and professional connections with poets and editors.
- William Maxwell: While a long-time editor at The New Yorker, William Maxwell is not explicitly cited in the search results as Hall's direct editor, but rather as a figure Hall knew and admired, with whom he had intimate conversations.
- The Paris Review: Although a New Yorker contributor, Hall's most notable early editorial correspondence was with George Plimpton at The Paris Review, where he served as the first poetry editor.
At 86, Poet Donald Hall Writes On, But Leaves Verse Behind
At 86 years old, the poet Donald Hall can no longer write poetry. Not enough testosterone, he says. But the former U.S. Poet Laureate and recipient of the National Medal of Arts still has prose in him: He has just published a collection titled Essays After 80.
The book spans Hall's entire career, his family life, his addiction to smoking and his thoughts on his own beard.
From his rural New Hampshire farmhouse, Hall tells NPR's Arun Rath why he's still at it. "I love to work," he says, "and work in my life has meant only one thing and that's a pen on the paper."
https://www.npr.org/2014/12/06/368013634/at-86-poet-donald-hall-writes-on-but-leaves-verse-behind
死亡不是問題, 衰老才是: 美國桂冠詩人唐納．霍爾的八十後隨筆 (獨家簽名燙印版)
作者：
唐納．霍爾
出版社：
悅知文化
出版日期：
2023/06/05
內容簡介
★ 博客來、誠品、金石堂、書店一致推薦必讀選書
★ 啟發BTS專輯作品《BE》，日本、韓國暢銷中
★ 美國國寶級詩人，作品首度在臺出版
一個又一個的十年接連過去──
三十歲很可怕，四十歲我毫無印象，因為一直酒醉，
五十歲最棒了，因為我的人生徹底改頭換面，
六十歲延續五十歲的精彩──然後我罹癌，珍過世，
接下來幾年，我走進另一個宇宙。
◆ 紐約時報：「富於抒情，又有趣得令人笑出聲來。」
◆ 專文推薦──知名編劇／作家 袁瓊瓊
◆ 感動推薦──作家 蔣亞妮、詩人／作家 廖偉棠、寫作者／編輯 蕭詒徽、詩人 吳俞萱
本作寫於唐納．霍爾的「最後一本詩集」之後，
切身描述自身面對老年的心境。
在十四篇主題各異的散文中，
獲獎無數的詩人褪去大師光環，
以幽默而不自憐的文字，
向讀者喁喁道出緩步於生命盡頭的最後風景。
書中對於終老的坦然，
啟發BTS專輯作品《BE》中「對於時間無所畏懼」的概念，
因JIMIN在概念會議上引用此書，
旋即登上文學書排行榜。
新的詩不再降臨，隱喻與聲韻的奇蹟不再發生，散文倒是繼續一直來。
我感覺到圈子不斷縮小，遲暮是一場慶祝失去的典禮。
佳評如潮──
◆ 這是一個詩人（相信唐納‧霍爾不想我以落落長的頭銜介紹他）獻給老去自我的「真心話」與「我記得」。走過童年的農場、細數愛過的女人、戴上沒怎麼想戴好的桂冠，當他終於來到自述的「老年」──這一個外星世界裡頭，老人是另一種生命型態；他們的皮膚是綠色的，兩顆頭都長了觸角。詩人雖老，詩心仍生猛跳動，提供給老年世界另一張地圖，文學贈予「老」的美顏濾鏡。幽默美好的靈魂與詩，只變得古老，不曾衰老。──蔣亞妮（作家）
◆ 在他眼中，老去的意義是它變化了事物的重要程度。詩、名聲、愛、親人，與其他一切被時間孵著，有些本是落葉的原來是蝴蝶，而有些本是花朵原來是塵埃。讀完書，我終於明白為什麼二〇一〇年當詩人進白宮從歐巴馬手中領獎，那張鬍鬚滿腮的照片除了作為迷因之外更重要的意涵──鬍子是時間的證明。他刻意留下了它。意思是，他相信所度過的時間比「此刻」重要。跟著他的眼睛，事物的輕與重在心中消長。他從周圍人事的死，寫到家園中那些來來去去的熊、鼠與鹿，按時間算牠們理應也死過了幾代，看起來卻像永遠存在——遠遠地看，我們也一樣。──蕭詒徽（寫作者・編輯）
◆ 向死而生，能在歲月漸濃的陰影下寫出餘生的幽默和豐饒，只有歷經滄桑的詩人。唐納．霍爾的雋語是我們認知的衰老年歲的平行宇宙：在那裡我們和世界把酒言歡、重修舊好。──廖偉棠（詩人．作家）
◆ 別於一般的作家回憶錄是用現在的眼光將自己過往的塵埃、氣體、恆星在天球勾畫出一條乳白色的銀河亮帶，連失敗和落魄也被包覆在一種滑順的光暈之中；唐納．霍爾的臨終目光不是無時間性地為自己的一生賦形，而是瞄準當下，攤露他此刻的種種力不從心，把僅剩的力氣放在老了才能摸索的老，探看正在生長和演變的老。即使身軀和生活殘破，他戮力挖掘經驗的完整性，展現了寫作者的尊嚴。──吳俞萱（詩人）
◆關於年老帶來的喜悅與試煉，以及人生究竟為何的終極探索。霍爾作為文壇巨匠依然保持謙遜，這本書是他大膽而誠實的紀錄。──出版人週刊，星級評論
◆一份真正的寶藏，充滿魅力與靈魂的暢快之作。在坦率面對失去、幽默與感恩之情間取得了平衡。──華盛頓郵報
◆以鮮明文筆重現了過去發生的一切事。──波士頓環球報
◆霍爾是語言、觀察和驚喜的大師......感人而直率......他一如既往地色彩繽紛，文辭優美。──波特蘭新聞先驅報
◆極富閱讀樂趣......即使詩歌女神離去，唐納．霍爾的散文仍然鋒利如秋天。──華爾街日報
◆85歲的寫作人生......這些溫柔的隨筆中充滿了喜悅感。霍爾寫道：「老年人坐在椅子上，每寫一點，就減少一點。」對於他來說，寫作一直、也將持續是他對抗減少的激情復仇。──柯克斯評論
◆詼諧、犀利......許多讀者可能會希望自己在『80歲以後』也能像這樣精闢又狡猾。──Booklist
◆在這本包含14篇隨筆的作品集中，這位文學大師以巧妙的機智回味他的文學人生......霍爾尖酸刻薄、風趣幽默、富有智慧而不說教，甚至還有點性感。──芝加哥論壇報
◆當霍爾將深刻的人性時刻轉化為引人入勝且難忘的語言時，這些時刻即為讀者帶來啟迪與安慰。──洛杉磯書評
作者介紹
唐納．霍爾 Donald Hall 1928-2018
第十四任美國桂冠詩人，也是美國當代最重要的詩人之一。為詩人、作家、編輯和文學評論家，著有詩集22卷以及兒童文學、傳記、回憶錄、散文等50多本書。
畢業於菲利普斯．克塞特學院、哈佛大學和牛津大學。曾獲弗羅斯特獎章（Robert Frost Medal）、新英格蘭筆會獎（PEN New England）等諸多獎項，以及普立茲詩歌獎、美國國家圖書獎等提名，童書《趕牛車的人》獲凱迪克獎。
─譯者簡介─
康學慧
英國里茲大學應用翻譯研究所畢業，從事專職翻譯多年。現居於寶島後山的小鎮，沉醉於書香、稻香與米飯香。譯作有《小鎮書情》、《親愛的艾德華》、《你發生過什麼事》、《從前從前，有個古書店》（以上均由悅知文化出版）等。
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