Merging Cultures and Philosophies in Poetry
DE Navarro discusses how his diverse life experiences, linguistic expertise, and spiritual insights shape his poetry, particularly in haiku, blending Eastern and Western philosophies to explore universal human themes.
David E. Navarro is a multifaceted literary force whose journey from the inner city of Chicago to the serene woods of Indiana, and from the disciplined ranks of the United States Air Force to the contemplative world of Zen haiku, has profoundly shaped his writing. As an author, poet, essayist, editor, and biblical research minister, Navarro brings a rich tapestry of experiences to his work, weaving together themes of nature, spirituality, and the human condition. His unique perspective is further enriched by his deep understanding of linguistic nuances and cultural expressions, allowing him to craft poetry that resonates across diverse audiences.
Navarro’s literary contributions are as varied as they are profound. His haiku collection, A Tree Frog’s Eyes, exemplifies his ability to merge Eastern and Western philosophies, inviting readers to find harmony with nature and each other. His work in the Bukowski Erasure Poetry Anthology showcases his skill in transforming raw, streetwise prose into pieces that explore the spiritual and philosophical dimensions of life. With a career spanning decades and a commitment to exploring the depths of human experience, DE Navarro’s writing continues to inspire and challenge readers, making him a cherished voice in contemporary literature.
Your life journey has taken you from the inner city of Chicago to the woods of Indiana, and from serving in the Air Force to working in high finance. How have these diverse experiences influenced your writing, particularly in your haiku collection A Tree Frog’s Eyes?
I have been amazed at the opportunities I have had to experience such diversity in life, from hard labor and grunt work to executive management in high business realms. This has allowed me to experience all people at all levels of life from low income subcultures to the corporate elite. I have “merged” myself and integrated myself into their lifestyles and ways of living to experience them for myself, to inform my writing of every character of every kind. I have also learned that all people are still basically the same and seeking the same answers in life no matter their social strata. This has allowed me to write haiku that expresses world views from beggars to high society—haiku that brings them all together in the same natural world with the same cycles and shows we are still all the same citizens of the world.
You have a strong background in linguistic analysis and have written poems in several languages. How does your understanding of different languages and cultures shape your approach to writing haiku and other poetry forms?
I was intrigued at a young age that different peoples of different cultures and languages had different ways of expressing themselves and thinking about the world because of the way their language taught their minds to perceive. Some languages are so emotionally expressive and some are logical. It is amazing to learn a language and think the way others think, not that the car is red, but red is the car. Poetry is filled with language tricks and techniques and being able to grammatically express things in ways others think has helped me to compose phrases that stir the English speaking mind in unique ways.
In A Tree Frog’s Eyes, you mention being influenced by both ancient Chinese poetry and the great Japanese haiku masters. Can you elaborate on how these influences have shaped your haiku style and the themes you explore in your poetry?
Eastern thinking emphasizes honor of nature and recognition of being part of the whole, while Western thinking emphasized conquering nature and individual success. I have merged these two concepts in my haiku and urge Western readers to do the same, to embrace a little more of honor and respect for nature and the wake they leave as they pass.
Your work in the Bukowski Erasure Poetry Anthology involves creating erasure poems based on Charles Bukowski’s writings. What was your process for selecting and transforming Bukowski’s text, and what did you hope to convey through your contributions to the anthology?
Bukowski was one of those raw, street-people kind of writers and poets and saw the organic, senses-driven nature of humankind. His works, in one sense, are anti-spiritual, down to basic earth elements, unabashed. My works tend to the transcendent and spiritual nature of mankind. I wanted to explore the anti-spiritual to find the organic connection it had to choice between the material realm and spiritual. My aim was to show the philosophical and perhaps even hidden spiritual nature of street life though creative engagement with his words.
Having served in the ministry for 38 years and completed a degree in Theology with a focus on biblical languages, how do your spiritual and theological studies intersect with your poetic endeavors? Do you find that your poetry often carries spiritual or philosophical undertones?
I am absolutely a very spiritual and philosophical thinker, but I would not say I’m religious. Religion is often characterized by a regimented liturgical way of living and thinking and I am opposite that, a free-wheeling, off-the-page wanderer forging his own way and sharing it with others. I seek truth and higher spiritual understanding in life, but not a religious rigamarole. So yes, all my poetry and work carries spiritual and philosophical undertones.
With extensive experience as a technical writer, editor, and medical editor, how do you balance the precision required in these fields with the creative freedom of poetry? What skills or practices from your technical writing career do you find most beneficial in your creative writing?
One of the dichotomies of my life is that I can be so logical and analytical and yet incredibly creative. One personality assessment noted that only 6% of the world’s population has the same combination of scientific analytical skills and creativity that I have. I can’t vouch for their methods of determining that, but it sounded nice. In any case, I think of Einstein who is credited as saying his highest intellectual power was imagination. Not maths, not sciences, not astrophysics, not analytical ability, not logic, but his creative imagination which led to his discoveries. I can get inside the mind of my characters, my speakers, my personas so deeply and analytically that I can creatively portray their colorful lives and words. So it’s a great combination to have in my opinion.
