Emily Dickinson never developed. She remained loyal to her persona and to that same little metrical song that stood her in such good stead. She is a striking example of complexity within a simple package. Her rhymes are like bows on the package.

I'm happy to stick with my persona. There are themes of love lost and love regained, but the main themes of all poems are basically love and death, and that seems to be the message of poetry.

There's something very authentic about humor, when you think about it. Anybody can pretend to be serious. But you can't pretend to be funny.

I'm a great believer in poetry out of the classroom, in public places, on subways, trains, on cocktail napkins. I'd rather have my poems on the subway than around the seminar table at an MFA program.

My poems tend to have rhetorical structures; what I mean by that is they tend to have a beginning, a middle, and an end. There tends to be an opening, as if you were reading the opening chapter of a novel. They sound like I'm initiating something, or I'm making a move.

A lot of my poems either have historical sequences or other kinds of chronological grids where I'm locating myself in time. I like to feel oriented, and I like to orient the reader at the beginning of a poem.

When you put a book together and arrange it, there's a lot of anxiety and turmoil about what order the poems should be in.

I don't think anybody reads a book of poetry front to back. Editors and reviewers only. I don't think anybody else does.

Emily Dickinson seems rather tame because she pretty much uses the same meter every time. It's called 'common meter.' It's a line of four beats that's followed by a line of three beats.

The poets who have written the best poems about war seem to be the poets whose countries have experienced an invasion or vicious dictatorships.

One of the ridiculous aspects of being a poet is the huge gulf between how seriously we take ourselves and how generally we are ignored by everybody else.

The public is probably more suspicious of poets than women, and maybe for good reason.

I have my Poetry 180 project, which I've made my main project. We encourage high schools, because that's really where, for most people, poetry dies off and gets buried under other adolescent pursuits.

I'm very aware of the presence of a reader, and that probably is a reaction against a lot of poems that I do read which seem oblivious to my presence as a reader.

I think 'accessible' just means that the reader can walk into the poem without difficulty. The poem is not, as someone put it, deflective of entry.

We love, you know, children love the ingredients of poetry. And then they go into this tunnel that we call adolescence, and when they come out of it, they hate poetry.

I think it's good not to make demands on the reader too early. But as the poem goes on, I want the journey of the poem to lead into some interesting places.

I really have a distaste for poets who announce themselves at 50 yards; you know, here he comes, you know, with the beret and the cane and the cape and the whatever - whatever mishegas is part of the outfit there.

I don't want to sound like an aesthete, but one has to be true to the art. And that means being true to the tradition of the art but also being true to your own artistic vision.

If an artist is driven primarily by social responsibility, I think the art probably suffers because, again, just as leadership has a rather defined end point or purpose, social responsibility would seem to have a very clear moral context.

I think if a poet wanted to lead, he or she would want the message to be unequivocally clear and free of ambiguity. Whereas poetry is actually the home of ambiguity, ambivalence and uncertainty.

Poetry can do a lot of things to people. I mean it can improve your imagination. It can take you to new places. It can give you this incredible form of verbal pleasure.

I try to write very fast. I don't revise very much. I write the poem in one sitting. Just let it rip. It's usually over in twenty to forty minutes. I'll go back and tinker with a word or two, change a line for some metrical reason weeks later, but I try to get the whole thing just done.

Poems, for me, begin as a social engagement. I want to establish a kind of sociability or even hospitality at the beginning of a poem. The title and the first few lines are a kind of welcome mat where I am inviting the reader inside.