Introduction To Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem's room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the author's name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.

The pen is an instrument of discovery rather than just a recording implement. If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out.

But my heart is always propped up in a field on its tripod, ready for the next arrow.

Humor, for me, is really a gate of departure. Its a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.

As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.

Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there's no visual distraction.

There are interesting forms of difficulty, and there are unprofitable forms of difficulty. I mean, I enjoy some difficult poetry, but some of it is impenetrable and I actually wouldn't want to penetrate it if I could, perhaps.