I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.

Many of the poets I most admire have a way of embodying their peculiar obsessions via landscape that can sometimes seem magical.

I tend to view the superstitions or fragments of myth as triggers for lyric inquiry. I also find I think of this kind of language as ars poetica - if we can find the right combination of words, we can make something improbably or extraordinary happen.

I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.

I'm a compulsive enjamber. I'm drawn to half-meanings created by the line, so that's definitely an element of craft that's always on my mind. And I'm a big devotee of the short line, of couplets and tercets, and of irregular stanzas with lots of white space. I've got to give the dense language room to breathe!

I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.

Many of the poems weave autobiographical elements with fabular or mythic materials.