You want to make a representative selection, but at the same time, you want to give a sense of the whole project. I have this big conflict in my writing life that I'm trying to work out all the time.

If someone didn't believe in me that would kind of be a compliment in a way.

I've been writing fiction as long as I've been writing poetry. It's just that the poetry took off, and it took me a lot longer to figure out how to write a story.

I was raised in a strict fundamentalist household, and I always say that gives you a muscle of belief. I want to believe in something, but I don't believe in what my parents believed in. Poetry has taken the place, or I think the arts have taken the place, of religion in my life. I wanted to see how that was working out through the poems.

For 2,500 years, people have been writing odes. Why? I think that there's something innately human in wanting to praise the world even though it's disappointing in so many ways. There's always that tension.

Travel is something that I like to do because it gives you lots of images, and it also really makes you think about your own place in the world in a very different way.

One of things I write about a lot is the role of women. An older friend of mine said that she feels like there's always a tension between wanting to be free and wanting to be cherished. I think that's one of the things that my whole book speaks to, wanting to break out of the confines of the roles that are prescribed for women and yet at the same time, not wanting to be totally free. You want to have intimate relationships. It's that bursting out of confinement.