Mass Movement Meets… Djordje Miladinović (Ten Poets Volume 3 & Thoughts Words Action)
We sat down with poet Djordje Miladinović to discuss his contribution to Earth Island Books’ Ten Poets #3 and his broader journey as a writer. In this extended interview, we explore what it means to be featured in the anthology, his ongoing collaboration with Earth Island Books, and the deep, intrinsic correlation between the raw punk rock aggression and the written word. Miladinović also breaks down his creative process, key inspirations, recurring themes, writing techniques, and what lies ahead for his upcoming literary projects.
How did your involvement with Ten Poets #3 come about, and what does it mean for you to be featured alongside nine other voices from the global punk community?
First of all, thank you for having me on your platform. David (Earth Island Books and Earth Island Records) is a dear friend of mine, and we have worked together for years, promoting everything he publishes through his outlets via my music website, Thoughts Words Action. I’ve been familiar with the Ten Poets concept for years, as I’ve read and reviewed previous installments, and I’ve always loved the idea of punk rockers writing anything from fiction to poetry. As someone who has been writing for many zines, webzines, and books for years, I thought it would be a great idea to contribute something and share it with the world.
Earth Island Books has a distinct ethos rooted in independent culture. How does the publisher’s DIY spirit align with your own approach to writing and creative work?
We share the same ethos. It’s been three decades since I entered the punk rock world, and I have always appreciated the mechanics behind operating DIY publishing companies, record labels, and autonomous spaces. In these times, operating in the true spirit of DIY has its pros and cons, but it’s certainly rewarding in the end.
When selecting the poems for this specific collection, did you choose pieces that shared a unifying theme, or did you aim to showcase different eras and stylistic sides of your poetry?
To be honest, I don’t think about the concept too much. It’s more of a labor of love that comes spontaneously, mostly whenever inspiration suddenly strikes. Those poems work best as separate entities that explore the hardships of life, human behavior, love, and various sentiments from a philosophical point of view. Their sheer existence is rooted in my thoughts and observations. Depending on the poem, I might explore a particular memory, an observation, or something impactful from the distant or not-so-distant past.
Punk poetry often bridges raw emotion and deep vulnerability. Which of your poems in Ten Poets #3 do you feel best embraces that balance?
I wouldn’t consider myself or my favorite authors as vulnerable as many readers might assume. Maybe a far better approach to punk rock poetry is observational and conversational—one based on observing your surroundings and creating space for a dialogue with readers after they finish a piece. In my opinion, the best poetry works its way in by forcing you to think outside the box, observe the world you’re living in, and adapt to the moment as best as you can without losing your true identity. “The Shadow’s Length,” “The Salt Of The Labor,” “The Heavy Soles,” “The Raw Grain,” “The Unwritten Page,” “The Final Pulse,” “The Hunger Of The Road,” “Thoughts On A Sunday,” “The Coffee Cup Sermon,” “The Mirror Lied Today,” “How To End A Poem About Love,” and “Unwritten Gospel Of The Broken” are a few from this batch of poems that might resonate with readers on a profound level.
You’ve been active in punk, hardcore, and underground music for decades. How does the haste and dynamic energy of punk rock translate onto the static page when you’re writing prose or poetry?
It all depends on the moment, but I am certainly not overthinking it. Surely, I have a particular rhythm in mind while writing, but it all boils down to the sentiment, mood, situation, or atmosphere I am setting while crafting a poem. Since my Ten Poets batch is leaning more toward free verse, spoken word, and beat poetry, it has more to do with jazz than punk rock. Of course, a punk rock attitude is omnipresent, just with more lyricism and less rigidity.
Many musicians find that writing lyrics and writing standalone poetry require completely different mindsets. How do you distinguish between words meant for music and words meant for the page?
It’s a completely different mindset. In music, you have to keep in mind that you’ll be singing over strictly controlled rhythmic patterns, harmonies, melodies, and arrangements. In those moments, the songwriter is constrained, often trimming or discarding complex phrases and words for the sake of the natural flow necessary for a song. Poetry gives you far more freedom, especially while writing and assembling spoken word, free verse, and beat poetry.
Beat poets like Jack Kerouac and Allen Ginsberg drew heavy inspiration from jazz. How much does punk rock, or even ambient and noise music, shape the rhythm and cadence of your spoken word and poetry?
As a huge jazz fan, I took the same approach by embracing the artistic, chaotic, and complex world of jazz and applying it to my poems. For example, while working on this particular batch of poems, I listened to artists like Miles Davis, John Coltrane, Dave Brubeck, Bill Evans, Stan Getz, and George Benson.
In your view, why does the punk scene have such a deep, enduring relationship with poetry and independent zine culture?
Mainly because it has always existed on the margins. If we remove the historical aspect and the fact that poetry predated zine culture by centuries, today they could easily be part of the same subculture or counterculture. In these modern times, where culture and art forms have been suppressed to rock bottom, being a poet or zinester can be the same thing: a discipline where the primary weapons are your mind, keyboard, typewriter, or pen.
Your writing often captures urban life, existential reflections, and characters operating on the margins of society. What draws you to these specific themes?
I mean, look around. Inspiration is everywhere. We’re living in the 21st century, an era where hardworking people are struggling to survive, barely getting by on minimum wage, all while wealthy businessmen and greedy politicians enjoy their luxury yachts, bought by exploiting that very same working class to the max. Not to mention all those multinational corporations destroying the Earth, entire ecosystems, and wildlife by carelessly draining resources as if they were unlimited. There’s so much injustice in this world, and if we can’t find inspiration in pointing out to readers that we’re all struggling under these same conditions, we’re not doing our job properly.
Walk us through your typical writing environment. Do you write rhythmically on the fly, or do you engage in careful drafting and editing?
It usually starts with a sudden flow of thought or a single sentence, and then I work around it, building an atmosphere that feels right. It usually happens after midnight, when I have some quiet time to myself. I’ll often leave the poem as it is for a couple of hours or days, and then return to edit until it clicks. As with everything in life, it is a slow but rewarding process.
Who are some of the writers or fellow musicians-turned-poets who first showed you that poetry didn’t have to be academic or formal?
Charles Bukowski, Jack Kerouac, Allen Ginsberg, William S. Burroughs, and Bertolt Brecht are just a few of the names that come to mind right now.
As someone deeply into music journalism and running Thoughts Words Action, how does reviewing and analysing other people’s art impact your own creative output?
I appreciate all the art, both sonic and literary, coming my way for review, but I do not use those authors, artists, or bands as a source of inspiration. Instead, I am trying to build my own literary ecosystem, one where readers can immediately recognize my style. With all due respect to their work—as there are so many brilliant minds in both the music and literary worlds—I find plagiarism deeply annoying.
How has the reaction been to Ten Poets #3 from both traditional literary readers and the underground punk scene?
So far, I have received so much positive feedback and so many great reviews from friends, acquaintances, and colleagues. Some even compared my work to some of the most renowned names in the game, which is flattering, to say the least, haha. But there’s always room for improvement, experimentation, and refining my writing techniques. A true artist is never entirely satisfied with his work, haha.
With Ten Poets #3 out in the world, what’s next on your literary horizon? Are there more poetry collections or larger prose projects in the works?
Currently, I am working on my first poetry collection, some horror stories and poetry for upcoming anthologies, and various music-related articles and columns for zines. In the meantime, please visit Earth Island Books and pick up a copy of Ten Poets #3. All the contributing authors will truly appreciate your support.
Pick up a copy of Ten Poets Vol. 3 here.
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