The language with which I make my poems has nothing to do with one spoken here, or anywhere.

Reality is not simply there, it does not simply exist: it must be sought out and won.

The poem is lonely. It is lonely and en route. Its author stays with it. Does this very fact not place the poem already here, at its inception, in the encounter, in the mystery of encounter?

With wine and being lost, with less and less of both: I rode through the snow, do you read me I rode God far--I rode God near, he sang, it was our last ride over the hurdled humans. They cowered when they heard us overhead, they wrote, they lied our neighing into one of their image-ridden languages.

A poem, being an instance of language, hence essentially dialogue, may be a letter in a bottle thrown out to the sea with the-surely not always strong-hope that it may somehow wash up somewhere, perhaps on the shoreline of the heart. In this way, too, poems are en route: they are headed towards. Toward what? Toward something open, inhabitable, an approachable you, perhaps, an approachable reality. Such realities are, I think, at stake in a poem.

Don't sign your name between worlds, surmount the manifold of meanings, trust the tearstain, learn to live.

There's nothing in the world for which a poet will give up writing, not even he is a Jew and the language of his poems is German.