Obviously, if I'm reading in Vienna or Venezuela or Italy, there's the issue of language, and I will make choices that are more sound oriented. Or I'll try to incorporate those languages and occasions somehow.

Growing up in the fifties, having to wear a dog tag, having to take shelter in a bomb shelter. That turned me toward the road, I did not want to live in fear of that, I was gong to work somehow against what that vision was, and what that horror was. It was poetry, art, music.

I hope I'm not implying role of contemporary poet for myself, although there's a kind of resonant paradigm. It's traditionally a difficult role.

There are energies that reside in each phone and phoneme. And we can release them.

I'm curious about other universes, and nonhuman elementals. For me it's still a very lively ethos. It's a kind of practice. It's an ethos that is very sustaining.

I'm concerned about the overuse of spectacular places. And there's no real wilderness left and so there's a heartbreak there. You can go anywhere and be rescued through your cell phone and have some helicopter drop down.

Myths, by their definition, involve transformations, struggles through various worlds or layers of reality and of obscuration.