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.

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.

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.

While poetry was less professionalized than it is now, I still had this urge to win prizes and see my work in magazines, to get an "A," as though poetry could be graded. I wish I had been more patient and less frantic about getting published.

I have no idea, actually, where I fit in, in terms of poetry camps. At AWP conferences, I have been on panels about humor, collaboration, visual poetry, confessional poetry, gender, and the body, as well as tributes to Edward Field and Albert Goldbarth. I felt at home on all of them - most poets straddle more than one school.

I still write what I need to write - but I can't deny that something has changed when I think about sending work out. Maybe it's just growing older and feeling more responsible to the world.

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