Saigon was an addicted city, and we were the drug: the corruption of children, the mutilation of young men, the prostitution of women, the humiliation of the old, the division of the family, the division of the country-it had all been done in our name. . . . The French city . . . had represented the opium stage of the addiction. With the Americans had begun the heroin phase.

Great poetry does not have to be technically intricate.

Writing for the page is only one form of writing for the eye. Wherever solemn inscriptions are put up in public places, there is a sense that the site and the occasion demand a form of writing which goes beyond plain informative prose. Each word is so valued that the letters forming it are seen as objects of solemn beauty.

Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.

A poem with grandly conceived and executed stanzas, such as one of Keats's odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.

I don't see that a single line can constitute a stanza, although it can constitute a whole poem.

Poetry carries its history within it, and it is oral in origin. Its transmission was oral.