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.
I'm not a claustrophobe, but you don't need to be to feel claustrophobic inside an MRI. It's like being buried alive.
Now that I'm older, a real source of interest is the ages of the dead, the number; the day is off to an optimistic start when the departed are all older than I.
Listeners are kind of ambushed... if a poem just happens to be said when they're listening to the radio. The listener doesn't have time to deploy what I call their 'poetry deflector shields' that were installed in high school - there's little time to resist the poem.
If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out. In a poem, the pen is more like a flashlight, a Geiger counter, or one of those metal detectors that people walk around beaches with.
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 disadvantages of poetry over popular music is that if you write a pop song, it naturally gets into people's heads as they listen in the car. You don't have to memorize a Paul Simon song; it's just in your head, and you can sing along. With a poem, you have to will yourself to memorize it.
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.
I write with a Uni-Ball Onyx Micropoint on nine-by-seven bound notebooks made by a Canadian company called Blueline. After I do a few drafts, I type up the poem on a Macintosh G3 and then send it out the door.
I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies, and Loony Tunes cartoons.
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.
I just reached the point where plot-driven novels don't hold my interest because I don't care about the fate of characters anymore - whether Emily marries Tom or not, that kind of thing.
Humor, for me, is really a gate of departure. It's a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.
The life of Edward Estlin Cummings began with a childhood in Cambridge, Mass., that he described as happy, but he struggled in both his artistic and romantic exploits against the piousness of his father, an esteemed Harvard professor.
For most Americans, poetry plays no role in their everyday lives. But also for most Americans, contemporary painting or jazz or sculpture play no role either. I'm not saying poetry is singled out as a special thing to ignore.
In the long revolt against inherited forms that has by now become the narrative of 20th-century poetry in English, no poet was more flamboyant or more recognizable in his iconoclasm than Cummings.
People think of poetry as a school subject... Poetry is very frustrating to students because they don't have a taste for ambiguity, for one thing. That gives them a poetry hangover.
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.
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.
I am a nonparticipant of social media. I'm not much attracted to anything that involves the willing forfeiture of privacy and the foregrounding of insignificance.
