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.

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 can't move my body slowly. I can't move the line slowly. So I end up with way too much, often opaque to me later.

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

Looking out a window from different vantage points changes what you see and therefore what you write.

I'm really interested in what you remember, how you remember, what your perspective is as opposed to somebody else's.