So writing about love or having it infuse the poems that I'm writing has never been something I've set myself to do, except when I write a poem for my wife, for an occasion, such as our anniversary.

Maybe lurking in my unconscious was the idea that when someone's collected poems are published it means that the poet is dead. I found myself looking at my work as if I were at my own funeral.

It's fun to have a crush on somebody, even one that lasts only fifteen seconds. In New York I can go down the street and have a crush on somebody coming toward me, and then she walks by and the crush disappears. It's quite pleasant.

Working with artists and other poets has made me aware that there was a bigger "me" that I hadn't been quite aware of. Plus we had a good time. It's so much fun to write, for example, with a big brush on a giant piece of paper and to help create visually attractive and surprising objects, which is not what you normally do when you're writing a poem. It's wonderful to create these pieces with artists.

I don't do much of anything consciously in writing - in poetry writing, anyway, prose usually being a different matter, of course.

Almost everything that's happened in my poetry is what you might call organic. I don't do much preconceiving. The only consistent plan I've ever had is to try to break my patterns, my habits, my kneejerk tendencies in writing. If I start to sound too much like the Ron Padgett that I've read before, I stop myself. I don't want to get locked perpetually in a mode or a level of diction or a stylistic vein - what is called a poetic voice.

So writing about love or having it infuse the poems that I'm writing has never been something I've set myself to do, except when I write a poem for my wife, for an occasion, such as our anniversary.