I believe rhythmic sensibility is always a product and extension of language, defined broadly, among other things. But it is an immediate product and extension - no time elapses between the exposure to language and the creation of rhythmic sensibility.

There's no such thing as an animal too big too kill, AND we're cornered by such animals every day.

I had/have a habit of sending books out before they're ready. And then I edit with almost absurd intensity. But I've done about a book a year.

People get anxious about dividing sorts of poetry, say Confessionalism from political poetry. But Confessionalism is very much an expression of racial privilege and of class privilege. I don't think it's always a blind expression of these privileges but it does have its genesis in them, in the politics of them.

I wanted to be a composer for a while, and for a while, and maybe still, I found writing music much easier than writing poetry. So maybe my brain clings to it.

I love to read long books. I enjoy experiencing that extension. But it's not something I feel comfortable with and not something I think I can gain comfort with by practice. It was a real struggle for me while writing memoir to get past three pages or so. In poems, I can write long poems. But length in prose: no.

I believe rhythmic sensibility is always a product and extension of language, defined broadly, among other things. But it is an immediate product and extension - no time elapses between the exposure to language and the creation of rhythmic sensibility.