“I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we’re drifting away from the casual beginning of the poem into something a little more serious.”

A motto I’ve adopted is, if at first you don’t succeed, hide all evidence that you ever tried.

To write poetry is to be very alone, but you always have the company of your influences. But you also have the company of the form itself, which has a kind of consciousness.

When I began to dare to be clear, because 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 poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’

While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.

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.

Instead of demanding a more equitable system for the distribution of social and economic goods, we blame the victim.

When I was 27 years old, I left a very demanding job in management consulting for a job that was even more demanding: teaching. I went to teach seventh graders math in the New York City public schools.

My advice to you is not to undertake the spiritual path. It is too difficult, too long, and is too demanding. I suggest you ask for your money back, and go home. This is not a picnic. It is really going to ask everything of you. So, it is best not to begin. However, if you do begin, it is best to finish.

It takes some strength of soul–and not just individual strength, but collective understanding–to resist this void, this nonbeing, into which are thrust, and to stand up, demanding to be seen and heard.

To become a politics of asking women’s questions, demanding a world in which the integrity of all women–not a chosen few–shall be honored and validated in every respect of culture.