We're trained to see only male or female and to plot people into those categories when they actually don't fit neatly at all. But if we pause, watch and listen closely we'll see the multiplicity of ways in which people are sexed and gendered. There exists a range of personal identifications around woman, man, in-between-we don't even have names or pronouns that reflect that in between place but people certainly live in it.

I began to write poetry again in 1975, when I fell in love with another woman. I returned to poetry not because I had “become a lesbian”—but because I had returned to my own body after years of alienation. The sensual details of life are the raw materials of a poet—and with that falling-in-love I was able to return to living fully in my own fleshly self.

We're trained to see only male or female and to plot people into those categories when they actually don't fit neatly at all. But if we pause, watch and listen closely we'll see the multiplicity of ways in which people are sexed and gendered. There exists a range of personal identifications around woman, man, in-between-we don't even have names or pronouns that reflect that in between place but people certainly live in it.

I often think of a poem as a door that opens into a room where I want to go.