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.

I hardly ever look at my published books.

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.

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.

I'm not the kind of poet who arranges treasure-hunts to please the academics and keep them busy. Poetry should be surprising in deeper ways.

I'm not against ambition and reach, but if you can say it in four lines, why waste your time saying it in more? Challenge the world by all means, but it's bad for your poetry to take steroids.

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.