The job has left me with a healthy disregard for what you might call Public Life. I have no desire now to go to receptions, to be seen at gatherings of the great and the good, to stand and be bored to death by men in grey suits.

The gap between verse and poetry is enormous. Between good poetry and good prose the gap is much narrower

A good poem is not completely a poem until it has received a critical response that grows out of the poem in an almost biological way.

When I'm assembling a book I concentrate as though I were writing a poem. A truly imagined arrangement will indicate gaps and generate new poems. I re-read the new poems in my folder in the hope that this might happen.

Most poets' revisions are disastrous. They buckle and dent what was originally forged at a red-hot heat.

In America, where you'd have thought the country's so huge it couldn't happen quite so cosily, everyone's giving his imprimatur to everyone else. You line up three or four well-known poets and a couple of eminent academics on the dustjacket, and the rest of academe follow like sheep. That's death really, if you take pleasure in it. Mind you, the occasional puff's hard to resist, but you shouldn't inhale.

For me the form, the stanzaic shape, is an endorsement, proof that I'm engaged with the Latin or Greek at an original level, that my versions are explorations.