We move through the day like two hands of a clock: sometimes we overlap for a moment, then come apart again, carrying on alone. Everyday exactly the same: the tea, the burnt toast, the crumbs, the silence.

There is a fallacy that the powerful emotion of youth mellows with time. Not true. One learns to control and suppress it. But it doesn't lessen. It simply hides and concentrates itself in more discreet places. When one accidentally stumbles into one of these abysses, the pain is spectacular.

Now we'd known each other for two years, the side of my calf was touching his shins, and his stomach was against my ribs. He said, "I don't think it's end of world to be my girlfriend." I opened my mouth, but nothing came out. It took seven languages to make me; it would be nice if I could have spoken just one.

The rhyme always knows better than you, and leads you to places where you wouldn't otherwise have gotten to and that is absolutely the case. Leading off from formal poetry, there is something about when you pay attention to form and you allow it to have its own laws and you listen to those laws you really do end up in places you wouldn't otherwise go. Which isn't to say that I believe in following the rules when I write. I don't. Each of the forms in my books feels to me new.

The truth is that she told me she couldn't love me. When she said goodbye, she was saying goodbye forever. And yet. I made myself forget. I don't know why. I keep asking myself. But I did.

The unique thing that literature provides is to be able to step so fully into another situation and condition.

I always wrote little things when I was younger. My first opus was a book of poems put down in a spiral notebook at five or six, handsomely accompanied by crayon illustrations.