When Beverly and I got together in 1992, and I moved to be with her in the little round house she'd built in the middle of 20 acres of woods near Amity, I found myself immersed in a natural setting that I responded to with all my being.
If I don't write down a thought - or an image or a line of poetry - the instant it comes to mind, it vanishes, which explains why I have pens and notebooks in my pants and coat pockets, the car, the bicycle basket, on one or two desks in every room including bathrooms and the kitchen.
I used to be able to think. My brain's circuits were all connected, and I had spark, a quickness of mind that let me function well in the world.
In 'A Poetics of Optics,' Equi writes that 'all images bank on alchemy.' This idea captures her fundamental sense of poetry as turning common material into something rare and valuable.
I've forgotten what it's like to remember. I've lost the mindless confidence that a moment, an idea, a thought will be there for me later, the bravado of breezing through experience in the certainty that it will become part of my self, part of my story.
I'm a writer who simply can't know what I'm writing about until the writing lets me discover it. In a sense, my writing process embraces the gapped nature of my memory process, leaping across spaces that represent all I've lost and establishing fresh patterns within all that remains.