All good poets of the past, almost without exception, were at least bilingual if not trilingual.

You don’t read or overhear the voice in the poem, you are the voice in the poem.

For the mind and the imagination, bookstores aren't enough, college courses aren't enough, the Internet isn't enough. Those resources are all governed by the tastes and needs of the moment. Only libraries take the long view, quietly shelving the unused with the used, knowing that one of these days the two categories will be reversed by a student's discovery of those hitherto undisturbed volumes whose contents will unsettle the learned world.

All good poets of the past, almost without exception, were at least bilingual if not trilingual.

I liked teaching Henry James. When you look down at a Henry James novel from a helicopter height, you find an intricate spider web that all clings together.

For the critic, criticism is a form of natural self-expression, as poetry is to the poet. So, for a critic, criticism is a true thing. Criticism isn’t written for poets, it’s written for other readers. One hopes it is true for other readers if it’s true for oneself.

I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.