The more I live, the more I think, two people together is a miracle.

I think poets should work in the non-literary, non-academic world, get to know more than a workshop or a university.

I think about the possibilities for empathy, for mutual solidarity among gay men and lesbians, not simply as people who suffer under homophobia, but as people who are also extremely creative, active, and have a particular understanding of the human condition.

I think my work comes out of both an intense desire for connection and what it means to feel isolated. There's always going to be a kind of tidal movement back and forth between the two.

I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem - just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc.

I don’t think we can separate art from overall human dignity and hope.

I do not think [poetry] is more, or less, necessary than food, shelter, health, education, decent working conditions. It is as necessary.

If you think you can grasp me, think again: my story flows in more than one direction, a delta springing from the river bed with its five fingers spread.

Increasingly I think of poetry as a theatre of voices, not as coming from a single "I" or from any one position. I want to imagine voices different from my own.