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.

Part of the glamour of being a poet was always this long reach into the future. You knew you were managing time.

Women aren't physically afraid of men; women are genetically afraid of men. It's happened for such a long time.

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.

Art feels like it has this frame, and it's either outside or inside.

People loved to talk about how Frank O'Hara didn't really care about getting published. That doesn't jibe with my experience.

I was a working-class kid from Boston. But I never lost my accent because I felt like that was what I was doing. I didn't have to perform Woody Guthrie like Bob Dylan did in the '60s, I just had to make myself be Eileen Myles and let that be my shield.