I would like to say that I helped out our men in uniform, but the truth is I probably just grumbled at the noise.

I'm working on poems about work, I guess. Or related to work. Which sounds dull as drywall but I'm having great fun working the vernacular of work into poems. I'm also writing some poems about family. And I don't know, just writing. Taking breaks. Writing some more.

I have always wanted to midcourse-correct (or undermine) in a poem, and let that be the turn. That poem is to do with displacement, with almosts - even the rhymes are intentionally off.

I would like to say that I helped out our men in uniform, but the truth is I probably just grumbled at the noise.

I am probably going to pay for this at some point, but I think pretty much everyone I come into contact with is fair game. So I use real names sometimes if the poem says it happened like that. It feels right if I use the real person I reference. Of course the poem is all lies, even when it's true, so I guess I can sleep at night.

I think I'm comfortable making myself, or my speaker, larger than life if I can then cut myself off at the ankles. The way, in "My Major Prize," the speaker does this drippy performance of sadness and poetry for some unnamed prize committee, only he lets us know that it's all a wry game.

Some reviewers have read this as cynicism but I don't see it that way. When I say "I am so sick / of pretending to be me," it's exhaustion at the everyday performance, in life, in art, even in our most intimate encounters.