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Transom:
Your practice of identifying friends and colleagues by name in your work reminds us of similar moments in the work of Li Bo and Tu Fu, two poets of China's Tang Dynasty who were great friends.  Frank O'Hara and others of the New York School also identified people by name in their poems.  What doors does the specificity of naming open for you in your poetry?  Do you think that "naming names" adds to, or detracts from, the accessibility of a poem?  [Secret side question: is accessibility something you think about when you're writing a poem?]

Pritts:
Calling people & places by their actual names – whether it’s Tulip Street, or Syracuse, or Matt – helps create a heightened degree of intimacy in a poem.  Of course it’s bigger than that – since my conception of the poem is as a PROCESS & not a PRODUCT, thinking & feeling & writing, so I populate my writing with the things that are happening, the things that occur, & I’m always thinking about my friends, or where I’m currently standing.  I hope, through some kind of comic book physics, the power of this intimacy then initiates a reciprocal vortex that allows YOU to trust ME – to be willing to follow along with whatever I’m saying.  In the final analysis it’s not the NAMES that really matter though.  To me, Matt is Matt Hart, a fun & frantic & serious nexus of energies & associations, a person I love very dearly; maybe the reader knows that, or maybe the reader just sees the name, “Matt,” & they also have a friend Matt or at least also have FRIENDS who have NAMES, & can recognize the nexus of energy & association that comes only from DIRECT HUMAN INTERACTION.
 
When I was a kid, I watched a show called Romper Room & at the end of the show, the host would look out into the TV & say hello to all the boys & girls she knew were watching her show: “Hello Scott; Hello Jennifer!”  Never “Hello Nate!” I felt excluded by that use of names, but I can see now why – she was trying to trick me, to try to get me to buy into the fantasy that she was talking directly to me.  She was attempting to create a false intimacy that even at five I recognized.  I can certainly recognize in some writing the conspiratorial, backroom exclusivity of using names.  To me, it has more to do with staying in the present moment as it unfolds, & trusting in the energy & power resident in that moment to lead me to the kinds of insights I think are necessary for Poetry.
 
[Secret side reply: I do not think consciously about accessibility when writing a poem, but I think about it a lot when READING poems, & I think this influences my writing in ways I don’t think much about.  I’ve gone on record before as saying that a poem is what one beating heart says to another beating heart, & I can’t think of anything more accessible than that.  Or, put another way, does Prince have to think about writing a catchy guitar riff?  Or do you think he just writes a guitar riff?]