I originally wanted to embrace the imagery and forthrightness of rap music. There are some interesting, dynamic voices in rap. But I find most of it irresponsible in its overt violence and commercialization of anger. As artists, we believe we can will action through language. If that's the case, we have to take responsibility for what we say.

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.

It wasn't a deliberate decision to become a poet. It was something I found myself doing - and loving. Language became an addiction.

My great-grandfather Melvin had been a carpenter - so was my father - and they taught me the value of tools: saws, hammers, chisels, files and rulers. It all dealt with conciseness and precision. It eliminated guesswork. One has to know his tools, so he doesn't work against himself.

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 am this space my body believes in.