with your whole person, self-forgettingly, so that part of mind which is "critical" is most likely not dormant when I'm writing poetry, nor is the "poetic faculty" asleep if I'm drafting a "critical essay". I'm uncomfortable with a notion (especially prevalent in American discourse) that there is a kind of division of labour, the critical eye being part of the intellectual zone, the poetic eye something else--emotional, lyrical, sensual, etc, but not a thinking eye. I'm very keen on the possibility of undissociated sensibilities. If I make distinctions among modes of writing, they are probably based more on genre or occasion.from The Economist: The Q&A: Maureen McLane, poet
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