Another problem about writing about politics in the "age of globalization" is that so much of the violence in the form of war and also in the forms of institutional violence - sweatshops, child labor, victimization of people economically - happens elsewhere and out of sight. And when we do know about it and need to witness it, it's always mediated by images of one kind or another, so you're kind of stuck trying to write about what it's like trying to be you living your life thinking about and experiencing this stuff in that way.

It turns out - this is a metaphor out of [Charles] Dickens - that the raw sewage emptied into the Anacostia comes from the Federal Triangle. I have a sewer map, and on it you can see the pipe from which congressional wastes empty into the river that then flows through the black neighborhoods of Washington, D.C. It is very expensive to do anything about the river, but somebody's working on it.

The first book that really knocked me out was the 'Brothers Karamazov.' I read it when I was a senior in high school.

When I applied to Stanford, I applied for graduate work in the PhD program, not to the creative writing program, mostly because though I had some vague ambition of becoming a writer and I was trying to write poems and essays and stories, I didn't feel like I was far enough along to submit work to some place and have it judged.

Golf is a worrier's game, inward, concentrated, a matter of inches, invented by the same people who gave us Presbyterianism.

When I began writing poems, it was in the late 60s and early 70s when the literary and cultural atmosphere was very much affected by what was going on in the world, which was, in succession, the civil rights movement, the antiwar movement, and the women's movement in the 60s, 70s, and into the early 80s. And all of those things affected me and affected my thinking, particularly the Vietnam War.

Where politics is concerned, I think poets have to be pragmatists, philosophical pragmatists.