The one concession I've made as I've gotten older is that my children are now adults and they're in their twenties and thirties and so I'm careful about how I write about them. I may write about them as a child, but I'm not going to write about their current struggles because they're adults and they can do it for themselves. I want to give them some space in a way I didn't when they were younger.

Writing is a bit like walking into a big bookstore. It's the bookstore of your brain, and you know you're never going to read all those books. It makes you happy you're in the bookstore, and you're nervous because you know you're never going to read all those books. So the nervousness is also happy. Once I get going writing poetry is one of the happiest things I do, but it is also fraught with all of these anxieties.

And I said to myself, here's the problem with the world: The Italians are too Italian, and nobody else is Italian enough.

Like a page dipped in ink, your cuff's in my coffee. / You have something to tell with unbuttoned sleeves.

Part of what the imagination does later in life is it's linking you not just to who you are now but to all the people you've been.

All writers know in advance that they are not going be able to reproduce in its wonderful fullness the thing that's in their heads; we're going to get some corner of it. We're going to do the best we can, but we already know it's beyond us.

A number of people have written poems about Trump already, and I salute them. He is so beyond anything we could have imagined and yet, in another way, he has to be seen as a mirror of America. Our country wouldn't have elected him if he didn't reflect something in our country. In my view, it's a negative thing that's being reflected.