The middle class is doing fine in fiction. But it's not what gets me going. I love the working class, and everyone from it I've met, and think they're incredibly witty, inventive - there's a lot of poetry there.

A book is sent out into the world, and there is no way of fully anticipating the responses it will elicit. Consider the responses called forth by the Bible, Homer, Shakespeare - let alone contemporary poetry or a modern novel.

Perhaps there is an idea among Japanese students that one general difference between Japanese and Western poetry is that the former cultivates short forms and the latter longer ones, gut this is only in part true.

It is true that short forms of poetry have been cultivated in the Far East more than in modern Europe but in all European literature short forms of poetry are to be found - indeed quite as short as anything in Japanese.

I often imagine that the longer he studies English literature the more the Japanese student must be astonished at the extraordinary predominance given to the passion of love both in fiction and in poetry.

Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.

I credit poetry for making this space-walk possible.

Manifesting that order of poetry where we can at last grow up to that which we stored up as we grew.

The completely solitary self: that's where poetry comes from, and it gets isolated by crisis, and those crises are often very intimate also.

The fact of the matter is that the most unexpected and miraculous thing in my life was the arrival in it of poetry itself - as a vocation and an elevation almost.