For the past thirty years or so, much American poetry has been marked by an earnestness that rejects the comic. This has nothing to do with seriousness. The comic can be very serious. The trouble with the earnest is that it seeks to be commended. It seeks to be praised for its intention more than for what it is saying.

I never read Ford Madox Ford's "The Good Soldier." I've been reading books that I should have read years ago and did not. That's one of them.

I think I made a mistake with [Jane] Austen by reading all six in a row. There are similarities to the plots so by the time I got to the last one I could anticipate what was happening too easily. But her characterizations are amazing.

I remember coming upon Philip Larkin in my 20s in the early '60s and when Sylvia Plath's "Ariel" came out it knocked me off my feet.

I'm reading a manuscript by Rodney Jones, "Village Prodigies",it's one of the best contemporary poetry books I've ever read ever.

My poems always begin with a metaphor, but my way into the metaphor may be a word, an image, even a sound. And I rarely know the nature of the metaphor when I begin to write, but there is an attentiveness that a writer develops, a sudden alertness that is much like the feel of a fish brushing against a hook.

They are asleep. This is the condition they prefer. They are afraid of the world and sleep is a way of dealing with their fear. Someday they will wake. Perhaps something frightful will happen. Indeed, there is no better invitation to the frightful than ignorance - that is, sleep. (29)