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.

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. 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. The traffic, however, was usually the other way. My teaching was animated by what I was reading and being excited by as a poet.

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.

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.

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.

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

So how can a poet-an intelligent, serious poet-write mystical verse now? The poetry of Adam Zagajewski provides the beginning of an answer to this question.