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

Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.

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 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 learned to write with my desk in the living room, next to the TV. But mostly in my head, and I try to be able to do it under any circumstances.

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