I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue.

I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies, and Loony Tunes cartoons.

I think my poems are slightly underrated by the word 'accessible.'

Poetry is my cheap means of transportation. By the end of the poem the reader should be in a different place from where he started. I would like him to be slightly disoriented at the end, like I drove him outside of town at night and dropped him off in a cornfield.

When I’m constructing a poem, I’m trying to write one good line after another. One solid line after another. You know a lot of the lines – some hold up better as lines than others. But I’m not thinking of just writing a paragraph and then chopping it up.

I think my work has to do with a sense that we are attempting, all the time, to create a logical, rational path through the day. To the left and right there are an amazing set of distractions that we usually can’t afford to follow. But the poet is willing to stop anywhere.

It’s time to float on the waters of the night. Time to wrap my arms around this book and press it to my chest, life preserver in a seat of unremarkable men and women anonymous faces on the street, a hundred thousand unalphabitized things a million forgotten hours.

The literary world is so full of pretension, and there’s such an enormous gap between how seriously poets take themselves and how widely they’re ignored by everybody else.

I’m a line-maker. I think that’s what makes poets different from prose-writers. That’s the main way. We think, not just in sentences the way prose writers do but also in lines. So we’re doing these two things at the same time.

I’m very conscious of the fact that every line should have a cadence to it. It should contribute to the progress of the poem. And that the ending of the line is a way of turning the reader’s attention back into the interior of the poem.