There are a couple of poems I've written with masculine muses, very often the muse to me is a female.

People called me a tomboy. That was the term used then. I was very much someone who was comfortable in male clothing, and even later when I grew up, I was constantly wearing dungarees, wearing guy shirts.

I look at my young students, and I no longer have the sense that, oh, I'm the authority and they have to meet a certain standard. It's like, oh, look at these young ones. They've got such a hard road in front of them. I don't envy them having life ahead of them.

The crows live in the world like you do. They are part of nature.

No matter how sheltered [my students] are, no matter how their parents try to do right by them, every single one of them, you know, every single one of us, that's what we all face. And so it's made me - that's the one change I've marked in myself - it's made me change in the way I relate to my students. I've become a different teacher in that way.

Heterosexuality - whichever gender you are - says that the other gender is very important to you.

I think that's what, to me, also talks about the silences in my work - as a woman, a woman writer, when you say, "no" or you have to say, "no" so often to the writing occasion, those occasions don't really come back.