I see a resurgence of interest in poetry. I am less optimistic about the prospects for the arts when it comes to federal funding.

I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.

If our children are unable to voice what they mean, no one will know how they feel. If they can’t imagine a different world, they are stumbling through a darkness made all the more sinister by its lack of reference points. For a young person growing up in America’s alienated neighborhoods, there can be no greater empowerment than to dare to speak from the heart — and then to discover that one is not alone in ones feelings.

To me, a poem is almost like someone whispering to another person, or you hear the whispering in your head. I hope with my own poems that the reader feels a connection, soul to soul, that'll help us all feel a little less alone on the planet. And it does have the power to direct change. A writer can make the word 'dark' be something positive. You can relieve a word like 'hysterical' of its misogynistic implications. You can make the language your own. That's what poetry is about.

To practice your scales, so to speak, in order play the symphony, is what you have to do as a young poet.

In working on a poem, I love to revise. Lots of younger poets don't enjoy this, but in the process of revision I discover things

I grew up in Ohio, where civil-rights accomplishments had already begun to accelerate before Martin Luther King appeared. In hindsight, we know that many people, black and white, were instrumental in changing the Jim Crow status quo on all levels.