“It’s not that I want to be, but it’s a fascination of the mind and it plays a role in why I want to live my life a certain way.”

I mean, it’s hard to talk about death without realizing that’s our end too, right? I am constantly aware of death.

I’m always talking about how the poems I am most obsessed with are like people: complex and unknowable and with a huge capacity for many different emotions.

One of the reasons I’ve felt so connected to poetry throughout the years is because it’s the only art form that has breath built into it. And I need that breath now. I need that breath so much. So, yes, it is a refuge for me. Absolutely.

I’m always telling my students that the weirdest thing is the truth. I mean, the fact that we get up in the morning and put on clothes is weird.

I have been writing. Even when I intend not to write, I find myself writing. I’m currently in a place where I should be putting together the fifth book, but then more poems are coming. It’s exciting and somewhat daunting.

All night I dreamt of bonfires and burn piles and ghosts of men, and spirits behind those birds of flame. I cannot tell anymore when a door opens or closes,

Moving away from “useful” doesn’t mean it isn’t necessary. You can still need poetry while also needing money or food or physical health.

The more I am aware of my mortality the better person I am and the better I am at choosing a life that is aware of its beauty.

I kind of hate it.” Or, “Oh you wait tables? I didn’t know that was something people did.” I say it can be invigorating because, on some level, we have to evaluate what we do and why we do it almost daily.

You know how we are when a new book of poems is at last coming together – all frenzy, distraction, and bounty? It’s as if I’ve turned into summer itself.

Precise, graceful, and generous, the poems in SuperLoop, seem to be born out of a deep, careful attention and a profound compassion.

The longed-for return of the bees. Unaffected and inherently hopeful, Callihan’s work is as merciful as it is moving.

Poems have always been a place for questions for me. Not answers. And I have a lot of questions these days.

Language can also be play and music and beauty and desire and grief and rage and truth without always having to be message-driven or purely functional.

We have to explain ourselves to people all the time. We have to say, “Yes, I am a unicorn, believe in me.”

There’s so much rage in the world now and I’m finding poems to be the place where I want to stay. I rage and rage and then write a poem and return to breathing.

The hardest thing as an actor is that you work really hard constantly for these roles, and you invest so much in it.

I want to make sure people are constantly surprised and interested.

We are constantly affecting the world.

And you can constantly look back when you’re in some sort of fix and say, “Well, on so-and-so film, we did this, and it worked out fine.”

I think the whole thing that Jamie [Hyneman] and I have in working together is that we are constantly simplifying each other’s designs,

When you’re dealing with an ambivalent relationship, you’re constantly on guard, grappling with questions of trust.

I mean, it’s hard to talk about death without realizing that’s our end too, right? I am constantly aware of death.

The more I am aware of my mortality the better person I am and the better I am at choosing a life that is aware of its beauty.