“My teaching was animated by what I was reading and being excited by as a poet.”

So how can a poet-an intelligent, serious poet-write mystical verse now?

Teaching and writing have tended to proceed on parallel lines, but there have been times when there was indeed carry-over from the classroom to the creative work.

The traffic, however, was usually the other way.

Once a poet calls his myth a myth, he prevents the reader from treating it as a reality; we use the word “myth” only for stories we ourselves cannot believe.

Which led me into a new appreciation of middle [William Butler ] Yeats, of the short three-beat line and forward-driving syntax, and that paid in, in turn to a poem like Casualty in Field Work.

With luck, a writer capable of producing both Slouching Towards Kalamazoo and The Blood of the Lamb will not remain unappreciated for long.

The poetry of Adam Zagajewski provides the beginning of an answer to this question.

In the 1970s, for example, I found myself learning to relish the poetry of Andrew Marvell and Sir Thomas Wyatt, and getting a handle on poetry of plainer speech than I had dwelt with heretofore.

The unadmitted reason why traditional readers are hostile to e-books is that we still hold the superstitious idea that a book is like a soul, and that every soul should have its own body.

It’s just different discipline, just doing the voice over. I guess I’ve done about 5 or 6 audio books in the past and I do the animated voice for a show called Fatherhood on Nickelodeon.

I make a lot of expressions constantly. I’m animated.

When a mind is raised, and animated by scenes that engage the heart, then those qualities which would otherwise lay dormant

I love animated movies in general. I like making them.