The really authentic thing about humor is that anyone can pretend to be serious. Anyone who's ever had a job - in fact, we're pretending to be serious now, more or less.

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.

The literary world is so full of pretension, and there's such an enormous gap between how seriously poets take themselves and how widely they're ignored by everybody else.

I think a good poem should have some inscrutable part. You can't quite explain it. The poem can only explain itself to a certain limit and at that point you enter into a little bit of mystery. That for me is the perfect poem: to begin in clarity and to end in mystery.

I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we're drifting away from the casual beginning of the poem into something a little more serious.

Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn't give public readings very often, certainly not - there was no circuit of schools.

I thought originally when I was in school and I wanted to be a poet, I knew that poets seemed to be miserable.