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David Duchovny, ABOUT TIME: Poems - Totally Booked with Zibby | Wave AI Podcast Notes

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David Duchovny, ABOUT TIME: Poems

Totally Booked with Zibby

Wed Sep 03 2025

Summary

Totally Booked with Zibby — David Duchovny, ABOUT TIME: Poems

Aired: September 3, 2025

Episode Overview

In this intimate conversation, Zibby Owens welcomes back David Duchovny, best known as an acclaimed actor and author, now discussing his poetry collection, About Time. The episode centers on poetry’s elusive "usefulness," the personal and universal nature of grief, and why creating and sharing poetry still matters. Duchovny reads and reflects on several poems, digging into themes of loss, memory, and the puzzle-like craft of writing verse.

Key Discussion Points & Insights

The “Use” and Uselessness of Poetry

[05:05] – [08:50]

Duchovny describes poetry as “pretty useless”—something with no clear agenda or motive.

“It’s really just a form of expression that’s kind of antiquated. Nobody reads it anymore. A great poet once said the best thing about poetry is you can’t get rich doing it. So… there’s no motive.” (Duchovny, 05:15)
He expresses appreciation for poetry’s lack of overt political or practical agenda, seeing this “uselessness” as liberating and essential.
Zibby challenges this idea, suggesting poetry’s power lies in its emotional resonance and connection.

“The usefulness is in touching our emotions, not anything else. But isn’t that the most useful thing you could provide?” (Zibby, 08:36)

The Personal Experience of Writing Poetry

[06:42] – [07:51]

Writing poetry is described as “a puzzle”—starting with an image or thought and unpacking it in search of meaning.
Duchovny enjoys the element of surprise in writing poems, often discovering truths he didn’t expect as he writes.

“A lot of poems are about the inability of me to say it, to get at it. So as I take different stabs at it throughout the poem, I’m surprised.” (Duchovny, 07:21)

Why Publish Poetry at All?

[07:51] – [08:36]

Duchovny likens poetry to beautiful, “useless” things like roses:

“Roses have no use. People love them… most of the things in our lives that really feed us are not useful. They’re beautiful.” (Duchovny, 07:58)

Poetry and Grief: Reading from “Dead Seven”

[10:04] – [12:06]

Zibby reads “Dead Seven,” a deeply personal poem about Duchovny’s father, leading to a discussion about mourning and the attempt to reconnect with lost loved ones through art.
Duchovny reflects on the origin—an anniversary of his father’s death—and the shifting perceptions of youth, mentorship, and missed connections in their relationship.

“It moves me as I speak. So I’m sure it moved me back then to kind of pursue it further… me trying to forge or renew a relationship with him now that he’s gone.” (Duchovny, 13:12)

On Memory and the Afterlife

[14:39] – [15:50]

Duchovny doesn’t believe in literal life after death, but sees memory as a form of ongoing existence:

“As long as we continue to speak... then he has a certain kind of life, you know?... I want it to be this. I’m trying again, imprecisely, using these words that I’m given to try and talk about a state of being that doesn’t really exist.” (Duchovny, 14:39)

The Father/Son Relationship

[15:50] – [17:27]

Duchovny describes an attenuated relationship with his father after his parents’ divorce. He emphasizes that these relationships persist beyond death or separation:

“A father and a son always have a relationship. A mother and a daughter… those relationships never end.” (Duchovny, 16:45)

The Real Role of Poetry

[17:48] – [19:52]

Zibby asserts that poetry creates space for the most vital conversations and self-exploration, proving its value.
Duchovny admits his introduction is partly a defensive preemption of criticism about releasing poetry as a celebrity, but stands by the spiritual and existential utility of poems, likening them to religious texts.

“Poems help me live… they’re like religious texts. I also like certain religious texts, and they are very poetic to me.” (Duchovny, 19:34)

Poetry’s Place in Modern Life

[23:44] – [25:05]

Zibby argues that, in an age of diminishing attention spans, poetry should be thriving due to its brevity.
Duchovny counters that short doesn’t necessarily mean simple—good poems demand rereading and contemplation:

“They’re hard because… the most profound truths [are]... too simple and profound to say clearly.” (Duchovny, 24:06)

On Grief, Love, and Dogs: Reading from “Another Brick”

[25:11] – [27:01]

Zibby reads the poem “Another Brick”, about the death of Duchovny’s dog—a meditation on loss, memory, and the quiet impact of animals.

“I put my dog down this morning and cried some morning. The loss of his mute, expressive soul… The world moves on in its blithe way and doesn’t care about a little dog. It’s already as if he never existed. But he did. He sure did.” (Zibby reading Duchovny, 25:14)
Duchovny explains how certain lines capture the essence of both humanity and animal companionship:

“When I came upon that phrase, ‘mute expressive soul,’ I thought, yeah, I kind of nailed what a dog is.” (Duchovny, 25:46)

The Last Poem He Wrote

[28:45] – [29:43]

Duchovny shares the most recent poem he wrote, not published in the book, excerpted live:

“Memory is the language of the dead. I feel my fluency growing even as brute remembrance fades…” (Duchovny, 29:11)

Poetry’s Ambiguity and Paradox

[30:13] – [30:54]

Duchovny discusses the final poem in the book, referencing the phrase "one door closes and you cross out closes and write opens":

“It’s never stopping… opening and closing at the same time. What do you mean? And I just say yes, that’s exactly what I mean.” (Duchovny, 30:24)

Notable Quotes & Memorable Moments

David Duchovny on poetry’s agenda:

“You can’t really get into specifics in poetry that way. So there’s a certain kind of lack of agenda that I like about it…” (05:40)
On grief and art’s purpose:

“The world doesn’t care about a little dog. It’s already as if he never existed. But he did. He sure did.” (Zibby reading Duchovny, 25:38)
Zibby’s argument for poetry’s value:

“The usefulness is in touching our emotions, not anything else… Isn’t that the most useful thing?” (08:36)
On the persistence of relationships:

“You could try to end this relationship through divorce or through death or whatever, but a father and a son are always have a relationship.” (Duchovny, 16:33)
On poetry’s paradoxical knowledge:

“That’s the kind of knowledge I think that poetry can give us. It never… it’s opening and closing at the same time. What do you mean? And I just say yes, that’s exactly what I mean.” (Duchovny, 30:22)
On reading and empathy:

“There’s a fundamental empathy you get from reading that you can’t get through watching things or hearing things or whatever.” (Zibby, 33:01)

Important Timestamps

Poetry’s uselessness and value – [05:05]
Crafting a poem (“the puzzle”) – [06:45]
Discussion of “Dead Seven” – [10:04]; Reflection – [12:06]
On memory and living on through others – [14:39]
Talking about father/son relationships – [15:53]
Defending poetry’s place in society – [17:58]
“Another Brick” about his dog – [25:11]
Discussion of writing new poems – [28:45]
Explaining poetry’s open-endedness – [30:13]
Wish for more people, especially men, to read – [31:46]

Final Thoughts

David Duchovny and Zibby Owens offer an authentic, rich exploration of why poetry, no matter how “useless,” is profoundly essential to the inner lives of both writers and readers. Through readings and candid conversation, they reaffirm poetry’s ability to connect us, reflect loss and joy, and hold space for ambiguous truths.

For listeners seeking insight into grief, creative purpose, or the art of poetry—in clear, honest language—this episode serves as a deep, rewarding listen.

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Transcript

Zibby Owens (0:00)

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Zibby Owens (10:04)

Okay, let's read something from Dead seven. I don't need an occasion to think of my father occasionally. Dead now seven years. Better than nothing I hope waits for him. An afterlife, a rebirth. Is it? If so, then is the old man young again in death, A seven years dead boy, growing steadily deadly as he watches me in life. Growing seven years, learning the netherworld ropes, Still a child by turns wide Eyed and sullen as he crawls, walks, runs into the walls of his newly unlimited understanding. His 75 years or so on earth useless except as a dream of power, a moderately successful campaign of tiny plastic soldiers. Who is his mentor there? Who reminds him, who comforts him and teaches him the otherworldly equivalent of fishing or algebra or empathy for the dead living all around him? Does he sit dead, little head in little dead hands on the curb, lonely and abandoned, he who held my hands and taught and did not teach me so many things of nature and that nature I age like a tree, each new ring and orbiting armor round an empty marrow, the things I did not learn closed off at the center of my being, unreasonable of interest only to those who would chop me down to see what I might deliver coldly from another age. Oh, so you see here, this was the problem, right here. The worm at the root, the uneven ring. I'm almost done, I promise. Older now than he in death, I see him confused, reaching for my steadying arm as a dead branch perjures life in the wind. His language, his access to our symbols impenetrable, the dead tongue mute. My need for him transcribed into his imagined need for me, My inarticulate want, his full fathom. Five, six, seven, now going on eight. My sweet silken boy calls to me. I am here. I respond, and ready and of absolutely no use. Yeah, that's so. It's so emotional. I mean, it's a way of trying to understand the loss of someone you love so much, which, of course, all of us are trying to do every day with various people. Tell me about writing this poem.

Zibby Owens (19:52)

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