{"id":87270,"date":"2015-07-06T10:30:10","date_gmt":"2015-07-06T14:30:10","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=87270"},"modified":"2015-07-06T11:07:30","modified_gmt":"2015-07-06T15:07:30","slug":"five-questions-for-ishion-hutchinson","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/07\/06\/five-questions-for-ishion-hutchinson\/","title":{"rendered":"Five Questions for Ishion Hutchinson"},"content":{"rendered":"
\"ishion-hutchinson-cover-photo1\"<\/a>

Ishion Hutchinson.<\/p><\/div>\n

Ishion Hutchinson\u2019s poem \u201cThe Difference\u201d appears in our Summer issue<\/a>. Hutchinson, who was born in Port Antonio, Jamaica,<\/em> teaches at Cornell University.
<\/em><\/p>\n

In \u201cThe Difference,\u201d the speaker bridges a divide between the reader and the \u201cthey,\u201d the poem\u2019s unspecified subjects. Can you talk a little about the genesis of the poem? Do you often see the role of a speaker as a kind of mediator?<\/strong><\/p>\n

The poem\u2019s opening contains its genesis. I overheard two men, it could have been more, talking one early winter morning in a caf\u00e9. Their words weren\u2019t clear but, to my ears, there was a doomsday tone about them, very grave. I had been reading\u00a0Halld\u00f3r\u00a0Laxness\u2019s great novel,\u00a0Independent People<\/em>, too, a very masculine book, full of scenes of men gathering in winter to talk iron, as it were, and I think that permeated the poem. I do not see the role of a speaker as a kind of mediator at all, perhaps only to the extent that the speaker is listening to voices, yes, but the speaker\u2019s motive is to speak for and to himself. <\/p>\n

You\u2019ve said in an\u00a0interview<\/a>\u00a0that \u201conce you are a part of a landscape, it enters your body and you gain a precision of language that is almost geological.\u201d Can you elaborate on that? Do you think it applies to poets outside of natural landscapes, too\u2014in cities, say?<\/strong><\/p>\n

I mean it in the sense that to a poet nothing about the landscape is inanimate; the poet is able to feel, like Merrill says in a poem, \u201ca stone heart quicken.\u201d I should have said, \u201cyou gain a precision of language that is pagan,\u201d right, because what matters most in the poet\u2019s language is an intuitive passion, which can be very imprecise, for a subject. That precision, or the imprecision that you could call grace of accuracy (pax<\/em>\u00a0Lowell), of language is alive to a poet wherever she is from. Cities are inside natural landscapes anyway, they grow out of the earth like anything else, and so what is affected\u2014more than the diction itself\u2014is the pitch of a poet\u2019s language. \u00a0<\/p>\n

Don DeLillo speculated in his\u00a0Paris Review\u00a0<\/em>interview that he had such little interest in storytelling because he did not read as a child. You, on the other hand, use narrative techniques at a time when few poets are doing so. What do you think draws you to storytelling?<\/strong><\/p>\n

\"213\"<\/a>Circumstances of my birth. Seriously. Like DeLillo, I did not read a lot as a child because books were not readily available\u2014neither was television, nor other forms of entertainment. The natural substitute was storytelling, all very marvelous and pervasive\u2014endless nights of it from adults. Then as kids we made up our own stories in primary schools. I had a good childhood friend, Christopher, who illustrated fables I used to write in what we called exercise books. Childhood, I guess, then, is the first thing which draws me to storytelling. But I am glad you used the phrase \u201cnarrative techniques,\u201d for I am not telling a story, in the chief sense of the word, when making a poem. My concern then is with the integrity of the language, its music and shape in relationship to the images and credible feelings that cannot be left out. \u00a0\u00a0<\/strong><\/p>\n

You\u2019ve said that you and other Caribbean poets must \u201creimagine home\u201d through a number of other landscapes.\u00a0 Do you find that specific things tend to get lost or maintained?<\/strong><\/p>\n

For me, the situation is like paradise regained. Contrary to anything getting lost, I am discovering more and more how much of home is inside me, to the point that there is, if you will, a kind of Housman effect, \u201cI see it shining plain,\u201d very weepy and nostalgic. But I am grateful to have such an immense clarity about such a complex, frustrating place. \u00a0<\/p>\n

In an interview for the\u00a0Virginia Quarterly\u00a0Review<\/em><\/a>, you asked Derek Walcott, \u201cWhat would you regard as your greatest strength as a poet?\u201d That was a hard question\u2014he said at first he couldn\u2019t tell. Do you have an answer yourself?<\/strong><\/p>\n

Derek did answer eventually, and his response is spectacular, he said \u201cI think there are lots of times when I have maybe caught the light in certain passages \u2026 the Caribbean light at sunrise and\u00a0sunset.\u201d My answer is, I would hope, in my own way, I have honored the same light.\u00a0<\/p>\n

\u00a0Jake Orbison is an intern at <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ishion Hutchinson\u2019s poem \u201cThe Difference\u201d appears in our Summer issue. Hutchinson, who was born in Port Antonio, Jamaica, teaches at Cornell University. In \u201cThe Difference,\u201d the speaker bridges a divide between the reader and the \u201cthey,\u201d the poem\u2019s unspecified subjects. Can you talk a little about the genesis of the poem? Do you often see […]<\/p>\n","protected":false},"author":842,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18642],"tags":[6044,1889,18624,609,11171,18321,18161,18644,7221,165,18625,18643],"class_list":["post-87270","post","type-post","status-publish","format-standard","hentry","category-inside-the-issue","tag-derek-walcott","tag-don-delillo","tag-far-district","tag-fsg","tag-halldor-laxness","tag-ishion-hutchinson","tag-issue-213","tag-jamaica","tag-poems","tag-poetry","tag-summer-2015","tag-the-difference"],"acf":[],"yoast_head":"\nIshion Hutchinson on His Poem \u201cThe Difference\u201d<\/title>\n<meta name=\"description\" content=\"Hutchinson discusses his work, which appears in the new issue of The Paris Review\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/06\/five-questions-for-ishion-hutchinson\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Five Questions for Ishion Hutchinson by Jake Orbison\" \/>\n<meta property=\"og:description\" content=\"July 6, 2015 \u2013 Ishion Hutchinson\u2019s poem \u201cThe Difference\u201d appears in our Summer issue. 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