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 like having a phrase lying around to get poems started. It's like having a key.

I don't know that I find either aspect of Jesus more interesting than the other, although maybe I think about the God one more.

That's a fairly Wordsworthian way to look at things! But yeah, actually - part of the poet's work, I think, is to maintain or reintroduce the imaginative capacity of their earlier self while nonetheless maturing. And I do think the more successful the poet is at this particular thing, the greater their achievement as a poet.

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.

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

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.