I do try to incorporate particular rhythmic and generally sonic motifs I discover in music as such, and if one thinks of language in a narrow sense, that, perhaps, suggests a possibility for a rhythmic sensibility that enters poetry from outside of language.

I definitely notice the absence of character in most poetry, which is not so say that I'm an innovator in that regard. Character-based poems are not weird or new by any stretch but they feel strange and new because the atmosphere is one in which no one does that. People always talk about, and with good reason, poetry's unpopularity. When people say that they forget or they brush aside the fact that in the middle part of the last century poetry was immensely popular. Dylan Thomas was basically a rock star; so was Anne Sexton.

If I can quote myself, I explained whatever it is I'm doing once for No Tell Motel, and I still think it's the clearest I've ever been about this: "I don't write free verse poems - mostly because I can't. But I am interested in the musical effects achievable with free verse."

A white noise app wouldn't work for me - I would be too distracted by the non-white noise noises I could still hear, even more distracted than i would otherwise be. So I have to just accept the regular noises.

I think I cause a lot of headaches for editors - it's impossible to keep up with the ridiculous amount of changes I make.

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.

I hope I can write toward my interests. But poets should be afraid of too fluidly responding to what they're interested in.