One of the things I've always thought is that if I were to write a poetics, it would have to do with the poetics of failure, and the way in which all the things that you claim or that you try for are already based on the limits of language.

The days start to be charged not because tomorrow you're leaving, but because in three weeks you're leaving. The future impinges. So you start to think about the frame.

I try to attach myself to things around me so that they don't slip away.

I want literature to open all the doors that I can't open by myself, and to allow me to see things that I wouldn't otherwise see.

I can't remember the past, or I can't see very clearly, or I've gotten older and the person I was isn't there anymore, and the place I grew up isn't where I live now.

I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.

One of the reasons I like immersing myself in different texts, putting myself in the company of other writers, is that they do change your vocabulary. They change what you write about or they change the length of lines.