I started moving away from poets like Wallace Stevens and Hart Crane and started reading poets like, again, Karl Shapiro, Howard Nemerov, Philip Larkin, and the British poets who were imported through that important anthology put together by Alvarez - and those would include Thom Gunn and Ted Hughes. And I think these poets gave me assurance that there were other ways to write besides the rather involuted style of high modernism whose high priests were Pound, Eliot and Stevens, and Crane perhaps.

…balancing the wish to be lost with the need to be found.

I stared up at the ebbing quarter moon and the stars scattered like a handful of salt across the faraway sky.

I was influenced by the Beats because I actually just began to commit adolescence around 1955, when "Howl" and Rebel Without a Cause and a lot of other new things were popping up. (Again I'm trying to give you a finite version of this career.) And then I came under the sway of Wallace Stevens when I was in college and graduate school, and basically set as a life goal the ambition of writing third-rate Wallace Stevens. I thought I would be completely content if I was recognized at some later point in my life as a third-rate Wallace Stevens.

Form is any aspect of a poem that encourages it to stay whole and not drift off into chaos.

I could feel the day offering itself to me, and I wanted nothing more than to be in the moment-but which moment? Not that one, or that one, or that one.

I see the progress typical in some of my poems as starting with something simple and moving into something more demanding. This is certainly the pattern of weird poetry.