A poem needs disguises. It needs secrets. It thrives on the tension between what is said and not said; it prefers the oblique, the implied, the ironic, the suggestive; when it speaks, it wants you to lean forward a little to overhear; it wants you to understand things only years later.

To shelter and to hide, they have resigned themselves.

Novelists want to flood, poets want to distill.

A poem needs disguises. It needs secrets. It thrives on the tension between what is said and not said; it prefers the oblique, the implied, the ironic, the suggestive; when it speaks, it wants you to lean forward a little to overhear; it wants you to understand things only years later.

The best criticism is the sort that tells you what you already know but had been reluctant to accuse yourself of.

At least since Darwin's day, we have known that all of us originally emerged from the sea. That fact may account for our abiding fascination with it, our longing to return there, whether to sail the main or merely contemplate its restless enormity.

No poem should be an urn to contain a meaning, but a net to catch what meanings float through the day.