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.

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

I think of my best poems as vessels that I can or hope to fill with everything I have.

Being deeply aware of fragility and ecstasy seems to me an essential part of being alive and living fully - and there's no way for me to separate this from my poems.

I think of my best poems as vessels that I can or hope to fill with everything I have. I try to give to them all of the electric complexity. Each one fails at this, of course, but I keep trying - adoring each of them, loving the process, the ebb and flow of it - and each time, the failures fail a bit better.

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.

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.