The more prose I wrote, the more the pendulum swung back toward the middle, merging some poetic sensibilities with the more fundamental elements of creative prose.

Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity, the grit and grimness and jubilance and beauty.

The world comes to us in fragments and shards. Whatever stories we shape from our days, we're always dealing with gaps, blank-spots, and blackouts - and in handling all these breakages, we are, at all times, so incredibly intimate with sharp edges, the unending knife-like moments of failure and joy in our lives.

I've never thought of my poems as violent. Violence, to me, has so much negativity attached to it - maybe that's my trouble with the word. But ferocious - indeed, I'll take it. And yes, poetry does need a bit of ferocity. Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity - the grit and grimness and jubilance and beauty.

My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself.

The more prose I wrote, the more the pendulum swung back toward the middle, merging some poetic sensibilities with the more fundamental elements of creative prose.

I found it incredibly challenging to write clear prose that had the dynamism that I wanted.