Robert Francis - Frost: A Time to Talk, Conversations and Indiscretions Recorded by Robert Francis
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Frost: A Time to Talk, Conversations and Indiscretions Recorded by Robert Francis
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Frost, Robert,--1874-1963--Interviews, Poets, American--20th century--Interviews, United States--Intellectual life--20th century, Poetry--Authorship.
publication date
:
1972
lcc
:
PS3511.R94Z653eb
ddc
:
811/.5/2
subject
:
Frost, Robert,--1874-1963--Interviews, Poets, American--20th century--Interviews, United States--Intellectual life--20th century, Poetry--Authorship.
Page i
Frost
Page ii
Page iii
Frost
A Time To Talk Conversations & Indiscretions
Recorded By Robert Francis
THE UNIVERSITY OF MASSACHUSETTS PRESS
Page iv
COPYRIGHT 1972 BY ROBERT FRANCIS
ALL RIGHTS RESERVED
LIBRARY OF CONGRESS CATALOG CARD NUMBER 72-77570
PRINTED IN THE UNITED STATES OF AMERICA
DESIGNED BY RICHARD HENDEL
FRONTISPIECE PHOTOGRAPH BY ROBERT FRANCIS
ROBERT FROST, OCTOBER 30, 1956
Page 1
Conversations 1950/1959
Page 3
Nobody would have called Frost a compulsive talker. His flow was too easy, too relaxed, too seemingly inevitable for there to be any sense of strain or competition. It was just that he said such interesting things, and kept on saying them, that people around him usually kept still and listened.
Perhaps in a group of men a new book had come up for comment. One man might say it was a good book; another man, that it wasn't a good book. Then Frost's voice would be heard, not making any judgment at all, but simply quoting one sentence from that book, one salient, significant sentence. It was unprofessorial enough to be startling.
An envious person might have called Frost's talk a monologue. But it wasn't a monologue either. It had the give-and-take of true conversation. If Frost did most of the giving and the others most of the taking, their silent role was nevertheless essential. Similarly when Frost spoke from the platform, one felt that it was the audience's wordless response on which Frost depended for his next word. To leave so much to the participation of the audience and to the spur of the moment meant for both audience and speaker constant drama and surprise. It also meant for Frost himself, by his own testimony, a never-absent nervousness. To achieve spontaneity he had to take risks.
But in private when he was talking with only one or two people, he was utterly relaxed and at ease. There was still the constant surprise, but no risks, since he was not trying to sparkle or entertain. At such times Frost's talk seemed effortless and the speaker emptied of all self-consciousness.
Page 4
If you ask how he could flow so endlessly, the answer is that his outflow of talk was fed by a ceaseless inflow of observation, musing, browsing, comparison-making. Whatever else he was doing or not doing, he seemed at all times to be thinking about what interested him. Unavoidable duties might now and then interrupt what he wanted to do, but they could not interrupt his flow of thought.
I have heard him speak of his "protective laziness." Perhaps it was less laziness than the freedom he demanded for himself to live his own inner life. I never knew him pressed for time. I never saw him glance at a watch or clock. For him, apparently, deadlines did not exist. And so he accumulated an enormous store of things to talk about, and everything he talked about he had thought over till it had the impress of his personality.
Generally after a conversation with Frost I felt a need to keep his talk, as far as possible, from being lost in "the stream of everything that runs away."1* So I made written records. Soon after a visit I would begin to jot down the various topics he had touched on as they occurred to me. A day or two later I would write out and enter in my journal what I remembered him saying on these topics. I almost never had any trouble in remembering what he had said, such being the vividness of his remarks. Sometimes I paraphrased or summarized; other times I could catch his very language. But in any case I believe I have been faithful to his meaning. After all, I had no other motive than to be as exact as possible. When I have quoted Frost's remarks, and those of others, I have indicated to the reader that the quotation is not necessarily letter-perfect by having the words, as I remember them, set in Italic type.
* These footnotes are cordially dedicated to my neighbor and fellow-poet, David R. Clark (also professor of English in the University of Massachusetts and Yeats authority), who asked for notes never guessing he would become one of them.
1. Line from "West-Running Brook."
Page 5
May 22, 1950
Two days ago Robert Frost, with Armour Craig,2 called on me on the day before he returned to Cambridge after his month in Amherst. It was the first time I had seen him this spring. It was the first time he had seen my house. He expressed approval of everything indoors and out. My wild apple tree was at the height of bloom and loaded. Looking at it from indoors, he said the sticks of the window improved the treethat was what art did. Outdoors he said the fringed polygala3 was trying to be not a bird but an airplane. Later observation on my part confirmed the felicity of the comparison.
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