A lot of the stuff that I see, because it's part of the work that I do, is look at pictures and photographs and sculpture and all the rest of that. I also spend a lot of time looking at the people on my street, and all of it simply exists in sort of this tremendous forceful wash of reality out of which comes, what I hope, are these shapely recognitions of reality, which are my poems.

A lot of the stuff that I see, because it's part of the work that I do, is look at pictures and photographs and sculpture and all the rest of that. I also spend a lot of time looking at the people on my street, and all of it simply exists in sort of this tremendous forceful wash of reality out of which comes, what I hope, are these shapely recognitions of reality, which are my poems.

Every cliche is true, right? That's why they're cliches.

When I came into consciousness as a writer when I was in my early 20s, I just assumed that a writer did - a poet writer did everything all at once. I would write poetry, and while writing poetry I would also write work in the world - if I could get into the world.

I've spent most of my life in cities, and so I've always lived with the curiosity about what makes for city cultures and how peoples live in cities, how peoples anywhere manage to co-exist, the public life and the private life.

When I think about what really matters, it's not looking at art that has made the most difference or has been most shaping of the poetry; it's simply living as completely in the world as a politically alert creature, as someone who is both stuck in and also trying to view the historical moment. Folded into all of that, of course, whatever you see in your life.

You can't be a poet certainly of my generation and not have deep in your animal brain the comment of William Carlos Williams, no ideas except in things.