The "biggest" poems I ever made are based on the psychological principal of the "Johari Window:" what the self freely shares with others; what the self hides from others; what others hide from the self; and what is unknown to the self and others.

After my marriage ended, I had an urge to skip that part of my life completely in terms of poetry, not publish anything at all about it.

I started wanting desperately to say something, to make a point, to be heard - and I still feel that way. Free verse served me best when I embarked on poetry.

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.

Writing is performative - and while, yes, the words in essence will be there "forever," poems are often about ecstatic moments rather than trying to pin down a particular truth of an event.

Though it does seem like I have written an immense amount of work, over the years I have pushed the pause button. I have poems that I haven't sent out for publication, mostly based on political/social issues.

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.