I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.

Poetry is a necessity of life.

I think a book-length poem stands about as good a chance as a collection of individual poems in reaching its field of ears. This does not mean I have not found some of them too daunting to read all the way through, but it would seem there ought to be some ambition on the writer's part to create a work that would be "a read" all the way through. If not, all the pleasure belongs to the maker, and that in itself is something, an achievement.

Almost none of the poetries I admire stick to their labels, native or adopted ones. Rather, they are vagrant in their identifications. Tramp poets, there you go, a new label for those with unstable allegiances.

Poetry seems especially like nothing else so much as itself. Poetry is not like, it is the very lining of the inner life.

Poetry takes you into the recesses of the language, the neglected corners, cracks and crannies and to the big sky of wonder. It opens the door to a critique without which you have rather boring analytical tools by comparison. To cultivate poetry means to stay with it. Not to abandon hope, but to abide.

Poetry requires deliberate movement in its direction, a filament of faith in its persistence, receptivity to its fundamental worthwhileness. Within its unanesthetized heart there is quite a racket going on. Choices have to be made with respect to every mark. Not every mistake should be erased. Nor shall the unintelligible be left out. Order is there to be wrenched from the tangles of words. Results are impossible to measure. A clearing is drawn around the perimeter as if by a stick with a nail on the end.