I think poetry, rather than suffering, is more and more sufficient to the needs of our society. It's one of the reasons so much of it is, for want of a better term, 'surreal.'

I do believe that we've a responsibility to try to acknowledge the range, both geographic and graphic, of what's happening in poetry in English. I'm interested in poems that are first-rate. After that, I'm not too concerned if they come from Queens or Queensland.

I love the fact that Inuit poetry may resonate with me as much as Irish.

The best thing anybody has ever done is to advise me against publishing a poem that shows me at less than my best, such as it is. That's the kind of advice most of us resist but really should relish.

One is constantly trying to figure out what came together in one's childhood. Lots of people spend significant portions of their lives in therapy - especially in the States - trying to work out who they are. I'm certain there is a little of that in the business of writing. That would explain why certain images and themes recur.

I was reared on American TV and films. There was a huge sense of occasion about going to the cinema in Moy in the late 1950s and early '60s, and I absolutely loved those Hollywood sword-and-sandal movies like Ben-Hur and the dime-a-dozen cowboy-and-Indian films, as we then referred to them.

I love adventure stories.

The best poems come from the world, go through the poet, and go back in to the world.

I don't shape trends, I'd say. I merely reflect them. I think the emphasis is on 'them.' I like variety in poetry. I love how it comes in so many guises. As rock lyric, as rap, as note on a fridge.

Poetry is as vital as ever. The teaching of poetry reading, however, is sluggish and, often, slovenly. It needs to be expanded in the school curriculum and be more a feature of society at large. The newspapers should all be carrying a daily poem. It should be as natural as reading a novel.