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.

Urban nature is like living with mass conditions. It sometimes feels like a myth & you are its scribe.

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

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.

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.

When people decide to talk publicly about poetry as an art form and how it's received, they often get very abject about it: "Nobody reads poetry," and then a thousand people write back, "No, we read poetry." There's an abundance of this negative preaching to the choir, and it's very similar to the experience I'm having.