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.

I am always hungry and wanting to have sex. This is a fact.

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

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.

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