Anyone who doesn't school themselves by deep, wide, and idiosyncratic reading is choosing aesthetic poverty.
The truth is, a writerâs voice is made from other writersâ voices. Pieced together, picked and chosen, stumbled into, uninformed: influence seems like an involuntary series of contagions that eventually turns into a sort of vessel, or transportation system. As we acquire a sense of taste, and perhaps a sense of vocation, our reading becomes more directed and targeted, but we are bent and shaped and destined to be changed by the genius of others. Compare it to the theory behind cannibalism, if you like. One eats the heart of the admired one and becomes them. The remarkable news is that this pastiche of voices results in the incarnation of a new poet, a new hybrid distillation of voice, capable of telling the story of experience in new, valuable ways. [âŚ] Each strong new writer is a deep student of what he or she has read and an amalgam of preexisting sentences and styles that have never been combined like that before. The idea that writerly originality appears from nowhere, or exists as something in isolation, a thing to be guarded and protected from influence, is lunacy. Anyone who doesnât school themselves by deep, wide, and idiosyncratic reading is choosing aesthetic poverty.
~ Tony Hoagland, from The Art of Voice: Poetic Principles and Practice (W.W. Norton & Co., 2019)*