I was never trying to be funny. Being funny feels to me like an alternate form of confessionality - that is, a way of dismantling the distance between writer and reader, a way of saying, "come in a little closer."

I do care about the consequences of being negative toward people who are powerful. But I'm more afraid of not being taken seriously as a critic - by editors, by readers.

I write to get myself writing. That and read Wallace Stevens' "An Ordinary Evening in New Haven" for the umpteenth time. Certain authors for me, certain books, just by reading a phrase I feel I can write.

I seem to thrive by destroying the last thing I did, in a kind of cartoon Nietzsche way. Emerson says in "Experience" something like "every ultimate fact soon becomes the next in a series." The self feels more real when you are destroying things you've made than when you are paying them homage. That's the good news about being self-destructive. The bad news, I feel I don't need to deliver.

The events in America now have the quality of things you would find out about long after the fact, and think: if only we had known. Well, we do know now. But what are we doing? Maybe a poet like Lowell brought America a little nearer to its boiling point.

I treat myself as one of the sources. And, again, I think that’s accurate. One of the poets I read most frequently is myself. I really do. I read my own poems obsessively.

The issue is that when you're a critic it's hard to tell the difference between the thrill of denouncing and telling the truth. Telling the truth to me feels more often like denouncing than like praising. There are many more concrete advantages in the world for people who praise than for those who denounce. So if you want to tell the truth, oftentimes you're going to err on the side of denouncing. That's just something I have to work on.