I do consider myself Canadian, but I feel American, too. I've spent more than fifteen years in each of the two countries, so really I just think of myself as a dual citizen, which is what I am. Thankfully, I've never been forced to choose!

William Shakespeare tried hard to see every facet of every question, probably because he was more interested in questions than in answers. That's a big part of what makes him great, in my opinion.

If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard.

In my case, performance is part of the medium. Sometimes I feel that it's my main medium, and that the presentation of my poems on the page is secondary.

I like poems that immediately claim my attention, instead of taking my attention for granted. At first read, I want to feel compelled to pick up the poem again; I want to be curious about its byways and secret corners.

I can't read my poem "Distracted by an Ergonomic Bicycle" without thinking of Seattle, where the events of the poem took place, and I can't read "In Defense of the Semicolon" without thinking of Toronto - but why should that matter to anyone else? If another reader imagines "In Defense of the Semicolon" taking place in New Orleans, great.

And treating poetry as a performing art emphasizes its ephemerality. A printed poem can be endlessly reprinted, photocopied, scanned, uploaded, cut and pasted - but a performance, even if somebody's there with a video camera, is one time only: the audience experiences something that won't exist when the performance is over, and which won't ever be reproduced in exactly the same form. I find that appealing.