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.

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.

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.

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.

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

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 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.