Floyd Skloot
Floyd Skloot
Floyd Skloot is an American poet, novelist, and memoirist who has often written about the search for meaning through personal loss and the struggle for coherence in a fragmented world. Some of his work has dealt with his battle with neurological damage caused by a virushe contracted in 1988...
NationalityAmerican
ProfessionPoet
CountryUnited States of America
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When Beverly and I got together in 1992, and I moved to be with her in the little round house she'd built in the middle of 20 acres of woods near Amity, I found myself immersed in a natural setting that I responded to with all my being.
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Science trumps magical thinking: there was a reason the Incas called their mercury mine 'la mina de los muertos,' the mine of the dead. Building a life and a community upon principles that ignore such realities is doomed to fail.
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My cerebral cortex, the gray matter that MIT neuroscientist Steven Pinker likens to 'a large sheet of two-dimensional tissue that has been wadded up to fit inside the spherical skull,' is riddled instead of whole.
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'The Art Student's War' is, at its core, a traditional American wartime love story. As such, it is timely and engrossing. By the end, all its principal characters 'have been to Hell and back.'
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Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose.
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In 1964, at the age of 39, Flannery O'Connor died from complications of lupus. She had lived with this autoimmune disease for 14 years, primarily confined to her mother's farm, Andalusia, in Milledgeville, Ga.
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In 'A Poetics of Optics,' Equi writes that 'all images bank on alchemy.' This idea captures her fundamental sense of poetry as turning common material into something rare and valuable.
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If I don't write down a thought - or an image or a line of poetry - the instant it comes to mind, it vanishes, which explains why I have pens and notebooks in my pants and coat pockets, the car, the bicycle basket, on one or two desks in every room including bathrooms and the kitchen.
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I've forgotten what it's like to remember. I've lost the mindless confidence that a moment, an idea, a thought will be there for me later, the bravado of breezing through experience in the certainty that it will become part of my self, part of my story.
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I'm a writer who simply can't know what I'm writing about until the writing lets me discover it. In a sense, my writing process embraces the gapped nature of my memory process, leaping across spaces that represent all I've lost and establishing fresh patterns within all that remains.
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I think one of the primary themes in my work is the paradox of memory, at once fundamental to our sense of who we are and yet elusive, ever-changing, fragmentary. One way to look at this is to say that, therefore, we ourselves are elusive, ever-changing and fragmentary to ourselves.
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I feel that I'm a poet first. Not only was poetry the first genre in which I wrote, it's the genre that serves as the basis for my practice as a writer.
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I became demented overnight. Sudden onset is one factor that distinguishes my form of dementia from the more common form associated with Alzheimer's disease.
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For those who turn to literary biography for salacious details, 'Flannery' will disappoint. It is the biography of someone who had very little chance to live in the conventional sense, to experience events.