A Conversation with Dara Barrois/Dixon, Co-Editor of “Hell, I Love Everybody: The Essential James Tate
In a recent interview, Peter Mishler spoke with Dara Barrois/Dixon, the co-editor of “Hell, I Love Everybody: The Essential James Tate.” Barrois/Dixon, who was married to the renowned American poet James Tate for over twenty-five years, offers insights into the process of selecting and editing Tate’s work. The conversation delves into the unique qualities of Tate’s poetry, the impact of his writing on Barrois/Dixon, and the intimate connection they shared through their mutual love for poetry.
Uncovering the Depth of Tate’s Oeuvre
Barrois/Dixon reflects on the experience of going through James Tate’s entire body of work, finding it both arresting and renewing. The dedication to imagination and the ever-present attention to human experiences throughout Tate’s poems stand out as remarkable. Barrois/Dixon also highlights the stunning beauty of Tate’s own readings of his poems, which have been captured in an audiobook.
The Authenticity of the Editing Process
Barrois/Dixon emphasizes the impossibility of second-guessing Tate’s choices and the importance of honoring his unique style. The editing process involved reading and discussing Tate’s books chronologically, selecting quintessential poems that resonated with them and others. The co-editors aimed to create a small book that showcased the range of Tate’s work while remaining unobtrusive in its presentation.
Poems that Speak Directly
While Barrois/Dixon cannot single out just one poem that speaks directly to her, she acknowledges that every poem in the collection and many others they had to leave out have a profound impact on her. The ability of a poem to connect deeply and surrender one’s thoughts to its perspective is what she values most. However, she does mention “Uneasy about the Sounds of Some Night-Wandering Animal” as a particularly memorable poem that resonated with her during her time in Missoula, Montana.
Tate’s Influence on Writing and Thinking
Barrois/Dixon discusses how engaging with Tate’s body of work deeply affected her writing and thinking. Having had a close relationship with Tate, she feels fortunate to have had a continuous engagement with his poetry. She suggests that her fellow editors may have more to say on this topic, given their different perspectives.
The Power of Reading Aloud
Barrois/Dixon shares the experience of reading her own poems to Tate and hearing him read his work aloud. The trust and understanding between them allowed for honest feedback and a deep connection through their shared love for poetry. They recognized the importance of understanding and being understood, which they found in the act of reading and listening to each other’s words.
Poetry’s Presence in Tate’s Work
Mishler points out the abundance of poems in the collection that are “about” poetry, which Barrois/Dixon acknowledges. She believes that poetry naturally found its way into Tate’s work, just as love, life, death, and other elements did. Poetry, for Tate, was a means of exploring and imbuing meaning into the world.
The Uniqueness of Their Connection
When asked about areas of disagreement, Barrois/Dixon humorously suggests that it is a trick question. She emphasizes the deep understanding and agreement they shared, which made their connection so strong. Poetry, with its conundrums, enigmas, and mysteries, provided a safe space for their discussions and allowed them to explore different perspectives.
Conclusion:
Engaging with Dara Barrois/Dixon, co-editor of “Hell, I Love Everybody: The Essential James Tate,” offers a unique insight into the life and work of James Tate. Their collaboration on the book allowed Barrois/Dixon to delve deeply into Tate’s poetry and discover new favorites. The profound impact of Tate’s writing on Barrois/Dixon’s own work and thinking is a testament to the enduring power of poetry. Through their deep connection and shared love for the written word, Barrois/Dixon and Tate found solace, understanding, and inspiration in each other’s words.
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