I grow very impatient with prose writers who don't pay attention to the cadence of the sentence. If you start as a poet, you're wooed by the music of language; you want to put that into your practice.

I'm always trying to bring as many poetic properties as possible to the essay without making it too overburdened.

There are landscapes and species that are not going to be here a hundred years from now, fifty years from now. One gift we as writers give to the world is to bear witness to these landscapes and species as we have experienced them.

What keeps me level is the refusal to let the best of human aspirations die in the face of the challenges. I make a moral decision to be hopeful.

The world is going to be less biologically rich for quite some time in the future. We are always weeping that we live in such a diminished world, but we are experiencing a biologically rich world compared to what the future will look like. Bearing witness to that is a beautiful gift.

I'm always writing towards a discovery. When I'm writing poems in particular, I'm often writing because a few images coalesced in my mind and I thought, "I wonder why these images are abrading against each other. I wonder what happens if put them in a poem and explore them." I'm trying to learn something every time I write a poem.

A lot of times students will come up to me and say, "Well, I can't write because I don't know what I think about such-and-such." And I say, "That's why you have to write." You don't wait until you know, because then who cares - it's static.