One of the hardest things for me to do is be fully open in a poem. By that I mean, honest and not trying to amplify some mythological version of myself. I was a poor, geeky black kid in Indianapolis. There is nothing mythological about that. So to try to truly render the kind of economic and racial inequity I grew up in, I had to find a way to be more honest about what happened. And it wasn't fun to write, even though the poems aren't 100% autobiographical.

You should check out William Shatner's album The Transformed Man. It will alter the way you hear poetry forever. And not in a good way.

One of the things I took from the show was emotional possibility. I never thought I would type that I learned how to emote in poems from watching Star Trek but there it is.

The day after the president Trump election, I remember feeling like it was 1984 again. It was in the air somehow. That ownership of bigotry. I hadn't seen it since I was a kid. It made me want to change the kinds of poems I was writing, but I'm terrible at writing overtly political poems.

I learned a new language for it all in the 90s. Which in some ways isn't bad... I mean getting people to think about what language actually means before they use it is a good thing. But it's become very clear the past nine years that some Americans truly resent thinking before they speak.

I was fortunate enough to get a job at my alma mater, which brought me back to Indiana after being gone for twenty years. There is no way I would have written these poems had I not come back. They are 100% the product of the circumstances that led me home.

I visited the Museum of Modern Art last spring and spent time with David Alfaro Siqueiros's painting, 'Echo of a Scream (1937).' I got spun out by the way he creates tension and movement through the interlocking details in the painting. This poem began as an emulation of Siqueiros's compositional style and, in the process, became an ekphrastic aubade about my old neighborhood.