I excavate history. I look at lives buried under too much silence. Periods of time, like slavery, have to be revisited, reimagined, so we can move through them.

I like connecting the abstract to the concrete. There's a tension in that. I believe the reader or listener should be able to enter the poem as a participant. So I try to get past resolving poems.

I think of language as our first music.

Cursing themselves in ragged dreamsfire has singed the edges of,they know a slow dying the fields have come to terms with.Shimmering fans work against the heat& smell of gunpowder, making moneyfloat from hand to hand. The next momenta rocket pushes a white fistthrough night sky, & they scatter like birds& fall into the shape their liveshave become.

I like what Oliver Lakes does on the saxophone. The saxophone comes pretty close to the sound of the human voice and when Oliver plays with other sax players, it's like a dialogue.

Students often have such a lofty idea of what a poem is, and I want them to realize that their own lives are where the poetry comes from. The most important things are to respect the language; to know the classical rules, even if only to break them; and to be prepared to edit, to revise, to shape.

Vietnam helped me to look at the horror and terror in the hearts of people and realize how we can't aim guns and set booby traps for people we have never spoken a word to. That kind of impersonal violence mystifies me.