I couldn't feel so I learned to touch.

Pay attention to the cracks, because that's where the light gets in.

We've got to temper anything we say with that. On the other hand, you've got to be serious about what you do. And you've got to understand the price you pay for frivolity or just for greed - it's a very high price, especially if you're involved in this sacred material, which is about the human heart and human desire and human tragedy.

It's like a bear stumbling into a beehive or a honey cache: I'm stumbling right into it and getting stuck, and it's delicious and it's horrible and I'm in it and it's not very graceful and it's very awkward and it's very painful and yet there's something inevitable about it.

A poem has a certain - a different time. For instance, a poem is a very private experience, and it doesn't have a driving tempo. In other words, you know, you can go back and forward; you can comeback; you can linger. You know, it's a completely different time reference.

Anyone who's been a heavy drinker and heavy smoker and has the good future to survive that and give it up knows what a very different kind of daily existence one has. I was smoking a couple of packs of cigarettes a day. And I was drinking heavily on tours.

Out of the thousands who are known or who want to be known as poets, maybe one or two are genuine and the rest are fakes, hanging around the sacred precincts, trying to look like the real thing.