I always think of childhood as the inarticulate moment, and you have your little camera. You were filming it, recording it, you just didn't know how to speak it.

People love discovering you. The thing about not being historically a mainstream writer is that everyone feels like you're theirs, you're their friend.

Time passes. That's for sure.

The poet is like the wise fool or like a version of the stand-up, because we're standing, we're doing stand-up. That's exactly what we're doing.

As a reader I feel included a lot in Julie Carr’s hard and beautiful book. I can pretty much hear its author speak—a whispering that enables us into its world . . . a masterfully sutured journey, painfully useful. Sarah—Of Fragments and Lines is a book I know I will return to. And urge it on my friends who have lives too and write in them.

I wonder, would I have transitioned from female to male if I was 30 years younger? Possibly. But if I had been born even 30 years later, because it seems like the technology will only get better, it seems like one might not ever need to settle down at all.

I think poets are supposed to be writing for television and film. I grew up in the day of early TV that was so raw and funny, and I think we're in the next important moment of television, where it's really telling the epic of the culture like Charles Dickens was doing in the 19th century with his serialized novels.