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.

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

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 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.

I've always been interested in the fragility of things, and with special urgency now because of climate change, but also because of the accidents of reading.

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