“I always think W.S. Merwin’s poems will last of anyone writing today. If I had to bet on posterity I would bet Merwin.”

I’m a line-maker. I think that’s what makes poets different from prose-writers. That’s the main way. We think, not just in sentences the way prose writers do but also in lines. So we’re doing these two things at the same time.

Humor is just an ingredient. It’s always been in poetry. It kind of dropped out of poetry I think during the 19th and up to the mid-twentieth century. But it’s found its way back. And it’s simply an ingredient.

A return to his native Nigeria plunges Cole’s charming narrator into a tempest of chaos, contradiction, and kinship in a place both endearingly familiar and unnervingly strange. The result is a tale that engages and disturbs.

I could look at you forever and never see the two of us together

The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.

The sense you get in a poem that the poet takes for granted an interest on the reader’s part in the poet’s autobiographical life, in the poet’s memories, problems, difficulties and even minor perceptions.

Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn’t give public readings very often, certainly not – there was no circuit of schools.

I thought originally when I was in school and I wanted to be a poet, I knew that poets seemed to be miserable.

Poetry is like standing on the edge of a lake on a moonlit night and the light of the moon is always pointing straight at you.

You’ll find i-poetry, you’ll find that you can download poetry, that you can stuff your i-pod with recorded poetry. So just to answer the question that way, I think that poetry is gonna catch up with that technology quite soon.

I think the pleasure of form is that you have a companion with you besides all the poetry you have ever read.

I felt at some point that I had nothing to lose, and [laughs] maybe I was wrong. I think, you know, there’s always these little autobiographical secrets behind things. I think I was really attacking my earlier self, and this kind of pretentious figure.

Death is what makes life fun.

I think clarity is the real risk in poetry because you are exposed. You’re out in the open field. You’re actually saying things that are comprehensible, and it’s easy to criticize something you can understand.

The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,

You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.