I don’t think of poetry as a ‘rational’ activity but as an aural one. My poems usually begin with words or phrases which appeal more because of their sound than their meaning, and the movement and phrasing of a poem are very important to me.
I’m not used to girls, or familiar with their customs. I feel awkward around them, I don’t know what to say. I know the unspoken rules of boys, but with girls I sense that I am always on the verge of some unforeseen, calamitous blunder.
Stick a shovel into the ground almost anywhere and some horrible thing or other will come to light. Good for trade, we thrive on bones; without them there’d be no stories.
I didn’t go to school for a full year until I was 12. In the summer I was a wild child in the woods, with no shoes, and in the fall it was back to the city, shoe shops and school.
A lot of being a poet consists of willed ignorance. If you woke up from your trance and realized the nature of the life-threatening and dignity-destroying precipice you were walking along, you would switch into actuarial sciences immediately.
The way love feels is always only approximate. I would like to be without shame. I would like to be shameless. I would like to be ignorant. Then I would not know how ignorant I was.
When any civilization is dust and ashes,” he said, “art is all that’s left over. Images, words, music. Imaginative structures. Meaning—human meaning, that is—is defined by them. You have to admit that.
