“Listeners are kind of ambushed… if a poem just happens to be said when they’re listening to the radio. The listener doesn’t have time to deploy what I call their ‘poetry deflector shields’ that were installed in high school – there’s little time to resist the poem.”

Until recently, I thought ‘occasional poetry’ meant that you wrote only occasionally.

I was influenced by the Beats because I actually just began to commit adolescence around 1955, when “Howl” and Rebel Without a Cause and a lot of other new things were popping up.

But some nights, I must tell you, I go down there after everyone has fallen asleep. I swim back and forth in the echoing blackness. I sing a love song as well as I can, lost for a while in the home of the rain.

You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.

When you get a poem [in a public place], it happens to you so suddenly that you don’t have time to deploy your anti-poetry deflector shields that were installed in high school.

I knew that poets seemed to be miserable.

It is as if one by one, the memories you used to harbor decided to retire to the Southern Hemisphere of the brain.

The pen is an instrument of discovery rather than just a recording implement. If you write a letter of resignation or something with an agenda, you’re simply using a pen to record what you have thought out.

Nationalism is a type of insanity in which the boundaries of a land replace God.

Another trouble with poetry – and I’m gonna stop the list at two – is the presence of presumptuousness in poetry.

There are just long gaps where I can’t find a point of insertion, I can’t find a good opening line.

As soon as I start to write I’m very aware, I’m trying to be aware that a reader just might well pick up this poem, a stranger. So when I’m writing – and I think that this is important for all writers – I’m trying to be a writer and a reader back and forth.

I write with a Uni-Ball Onyx Micropoint on nine-by-seven bound notebooks made by a Canadian company called Blueline. After I do a few drafts, I type up the poem on a Macintosh G3 and then send it out the door.

That’s the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.

Form is any aspect of a poem that encourages it to stay whole and not drift off into chaos.

I can’t picture myself starting out aiming to do anything or having much of an agenda.I think in writing a poem, I’m making some tonal adjustments, and it took me a long time to allow anything like fun into my poetry.

And, of course, people are interested only in themselves. If a story is not about the hearer he will not listen.

I think people generally are lost, as they keep thinking about what is going to happen and what they have done. They are not alive anymore. The art of listening is missing. In their head, they are doing something else.

When you really listen to another person from their point of view, and reflect back to them that understanding, it’s like giving them emotional oxygen.

Talk is cheap. Learn to listen with your eyes. Actions do speak louder than words. Watch what a person does more than what he says.

It taught him how to listen — how to listen with a quiet heart and a waiting soul, open soul, without passion, without desire, without judgment, without opinion.

Always keep your ego in check and not be afraid to listen. Listening is a great art form.

Women sometimes go too far, it’s true. But it’s only when you go too far that others listen.

First listen, my friend, and then you may shriek and bluster.