Because I love narrative but am more lyrically inclined, I've learned that if I freight titles with narrative information (the who, what, when, where, why of the poem), I can get to my main interest, which is the language, and where it wants to take me. If I can establish the poem's occasion in the title, then so much the better for my freedom to associate.

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

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 tend to employ braided narrative threads in the lyric, so often echoes (of phrases or images) will occur and will hit my ear so I can shape different resonances and shifts in tone.

Because I love narrative but am more lyrically inclined, I've learned that if I freight titles with narrative information (the who, what, when, where, why of the poem), I can get to my main interest, which is the language, and where it wants to take me. If I can establish the poem's occasion in the title, then so much the better for my freedom to associate.

I think the grotesque can inspire intimacy (it draws us in) as well as awe, like the cabinets of curiosities.

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.