I am interested in the confines of the page and busting through/off the page as well. A writer must let go of the line when writing prose poems, which brings its own pleasures.

In addition to writing in received forms, I have also had fun making up forms - Möbius strips and visual poems, particularly.

Jean Valentine and Jane Cooper were my professors at Sarah Lawrence College - and they were uncompromised in their art. They gave me models of how to live one's life as a poet.

I don't know if there are topics that I unconsciously avoid, but as soon as they pop up in my writing, I try to take on those topics, whether or not I publish the poems.

The "truth" is the poem itself. Just because someone writes a poem about a feeling she has does not mean that the feeling will stay forever. The truth of the emotion of the poem remains, even if the particular truth of the poet changes.

I had no idea, when I was writing early on, that my poems would be published or read by anyone, never mind people I knew or would meet. I just wrote urgently - naïvely, I suppose, looking back.

In almost every book I've written, there is a reference to a movie - legendary films, actors and actresses, and forgotten made-for-TV movies. The leaps poems make are not unlike the cuts in a film. The miniature and avant-garde prose poets have perhaps the most obvious ties to film, as a prose poem in its shape is not unlike a movie screen.