I think that my early poems were probably more concerned with time passing because of unfulfilled desires or yearnings. Now, I feel younger than I felt when I was a young old man. Now I want to live as long as I can.

Poetry is an ongoing conversation with the past and the future and the present. I'm interested in that continuity, in that way of tying civilization together. It's like shoe laces, it holds things together.

I'm old-fashioned enough to really still believe that the poem is an object to be memorized, venerated... I still believe in that kind of poem. A lot of poets today don't, they want to get away from the poem as object. They want something looser. Unfortunately, a lot of it is boring to me.

We need prizes as publishers... to focus attention on books, for people to know what to go look for. But often in my opinion and in probably everyone's opinion, the right books don't get chosen. Still we need books to be chosen even if they are not exactly the right ones, otherwise many people won't know what to read. As a publisher, I feel prizes are important for the publishing business. But as a writer, I think, writers shouldn't get too distracted by prizes because very often they don't go to the right person. You shouldn't take it too seriously if you haven't won a prize.

I love to publish new writers, and we do so consistently. But a lot of contemporary American poets sound alike to me. They want to bring spoken, prosy language into poetry and I understand that desire. But they don't edit. It's not very curated work. It seems very lackluster, very uncareful. It may be the un-carefulness is also something they intend but there's a kind of "So what?" quality to a lot of it.

I think that my early poems were probably more concerned with time passing because of unfulfilled desires or yearnings. Now, I feel younger than I felt when I was a young old man. Now I want to live as long as I can.

Italian is a very different poetic situation and there are these hard and fast rhythmic periods, settenari, ottonari of seven and eight syllables. These are fundamental to the way people speak and write and breaking them is more radical in Italian than when we break a line. I'm sure there are Italian poets who want to write poetry as prose and break these Petrarchan rules. And breaking them is fun and a valid thing to do. But I'm more interested in trying to write poetry that absorbs tradition and uses it in new ways, and doesn't throw it out.