Somebody comes to my house and admires what I've done, sometimes I just give it to them. Because I don't want to get it all tied up in all that professional stuff because I have to do that as a writer. I don't need that. I need something like painting, where I can just play.

If you look at the Directory of American Poets and Writers, you know there are hundreds of poets in New York City. So therefore, just by specific gravity, it seems like a more significant place. Robert Wrigley is a poet who lives in rural Idaho - I think it's really back-country Idaho - and he writes beautiful poems.

If I don't take the risk, I'll wind up with a bloodless poem. I have to be out there on the edge.

I like the poem on the page and not at the podium. I like to address the poem in peace and quiet, not on the edge of a folding chair with a full bladder. I can't stand hearing a poem that I can't see. I did a reading at Wayne State, and it ended with the comedy such occasions deserve. I'd seated myself on a piano bench, and discovered upon attempting to arise at the end that the varnish had softened and I was stuck fast. The hinge was to the front, under my knees, so that as I tried to get up, I merely opened the lid.

Every poet gets to choose what kind of community he or she serves with the poems, and it's true that there is a community for very difficult, challenging poetry. It's a community that's established itself over the last 80 years, that was originally, in effect, really started by T. S. Eliot and Ezra Pound. They believed that poetry ought to contain learning, that it ought to rise upon all the learning that went before.

Sometimes you sense how faithfully your life is delivered, even though you can't read the address.

I farm a little plot of things to say, with not much frontage on the busy road.