Our sense that things are transient, that everything is passing and then if you want to save something from the endless flux of experience and the world's movement, you have to set down a stake and try and make something that will last.

That is many poets don't know how to tell a story and they don't have a sense of how to put things in order to tell a story and we thought the poets could learn from fiction writers something about developing a character over time who wasn't just you and also creating a narrative structure.

I mean, when I was young I could write all through the night and I loved to work late into the night. Now that I'm older I work really well in the early morning when your synapses are firing a little better. But I work at different times of the day.

After my grandfather died I went down to the basement of my family house where my family kept books, anthologies and things and there was an anthology without any names attached to it and I read a poem called Spellbound and I somehow attached it to my grandfather's death and I thought my grandfather had written it.

I walk with Federico Garcia Lorca around the Upper West Side in Manhattan because that was a neighborhood he lived in and I imagine walking around Paris with Cesar Vallejo, a great Peruvian poet who lived in Paris. And I kind of create the walk as a kind of drama of my apprenticeship.

I don't think poetry will die, but I think that poetry does demand a certain kind of attention to language.

That you write a phrase or you think of something and it seems to have a deeper charge because the title has to be some kind of marker, something setting out a space, creating a space for what's going to come.