Once I was lost in a forest. I was so afraid. My blood pounded in my chest and I knew my heart's strength would soon be exhausted. I saved myself without thinking. I grasped the two syllables closest to me, and replaced my heartbeat with your name.

When a man dies, his secrets bond like crystals, like frost on a window. His last breath obscures the glass.

Translation is a kind of transubstantiation; one poem becomes another. You can choose your philosophy of translation just as you choose how to live: the free adaptation that sacrifices detail to meaning, the strict crib that sacrifices meaning to exactitude. The poet moves from life to language, the translator moves from language to life; both, like the immigrant, try to identify the invisible, what's between the lines, the mysterious implications.

The shadow-past is shaped by everything that never happened. Invisible, it melts the present like rain through karst. A biography of longing. It steers us like magnetism, a spirit torque. This is how one becomes undone by a smell, a word, a place, the photo of a mountain of shoes. By love that closes its mouth before calling a name.

I'm naive enough to think that love is always good no matter how long ago, no matter the circumstances.

The best teacher lodges an intent not in the mind but in the heart.

When you put a tremendous amount of love into your work, as in any relationship, you can't know - you can only hope - that what you're offering will in some way be received. You shape your love to artistic demands, to the rigors of your genre. But still, it's a labor of love, and it's the nature of love that you must give it freely.