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.

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.

The music is notated first, the text follows. I might have to wait until the right kind of text or form arises. I often see the poems as “scores.”

The sense of the preciousness of the body - vehicle for poetry.

I remember being caught in this earthquake in Mexico City and having a sense of people coming before me, of being part of this lineage. I felt similarly when I went to India and South America.

We had much more imagery from Vietnam war. The media was not controlled. The storyline, the master narrative was not controlled. I thin it was some those images really radicalized people and shifted things to some extent. And the Viet Cong also, their tenacity.

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.