I prefer always to think that I am creating a book, not a series of stand-alone poems.

For me, failure has to be acknowledged, needs to be faced in some way.

You can get a sense of the wonderful power of framing by holding your fingers up in a kind of square, walking around the room and framing it differently - how that changes the nature of what you think the room is like.

I'm always somehow drawn to that sense of how fragile things are and how a garden means so differently depending upon whose language you happen to be in or whose century you happen to be in.

Language is as fragile as the little alpine plant.

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.

If it's a drop of dew, it will dissolve.