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.

I think a philistine environment should be bracing for young artists. You have to make your own enjoyment, you've got to make your own art.

I was the first Arts Council official in the archipelago to do something for what you might call indigenous music.

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.

I hardly ever look at my published books.

I do feel that a poem needs not just space, but, ideally, space around that space - space for meditation, reverie, subliminal link-ups. I sense that poetry happens at a level above or below intelligence. It doesn't come into being at a purely rational level.

I work hard to make the poems as good as they can be, and if they're not good enough I scrap them. I find it difficult after a gap of a few years to tinker - I'm more likely to destroy.