Every artist has his or her struggle to work out in their work. The more powerful the struggle, the more persuasive the art.

My father's death when I was eighteen and his struggles as a Jewish immigrant provided me with the raw material, but for a long time I went from painting to fiction and then finally to poetry before I could find the right way of telling this story.

My first sense of myself was as an artist, a painter. I would see a Van Gogh painting and just love it, the more emotional and passionate the more it attracted me.

I'm the kind of father I wanted my father to be. That may be the sweetest revenge.

I wrote poetry in a secretive way, I think, a secret from myself, I mean. I wrote it because it gave me great pleasure to do so and because it relieved the ever-building pressure of the demanding world around me. It's always served me as a way of appraising, and controlling overwhelming experiences. But this need, and desire, was always in conflict with my need to "survive."

There are real facts in my poems, but facts mixed up in the perverse stubborn stew of imagination, add a pinch or two of revenge and retribution, a dash of amplification and reparation.

To pay for my father's funeral I borrowed money from people he already owed money to. One called him a nobody. No, I said, he was a failure. You can't remember a nobody's name, that's why they're called nobodies. Failures are unforgettable.