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.

Not everyone is at the top of his or her game all the time - you can't be.

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

Collaborating with someone who doesn't understand your language nor you theirs stretches you open even wider, into a sort of very large free fall.

It seems more than likely that the translating of poetry is going to rub off on the translator if he or she is a poet.

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.