Some people swear by writing courses, but whether it really helps American poetry, I have doubts.

I don't think American poetry has gotten any better in the past 35 years. Oddly enough, creative writing programs seem to have been good for fiction, and I would not have predicted that.

I love to compare different time frames. Poetry can evoke the time of the subject. By a very careful choice of words you can evoke an era, completely throw the poem into a different time scale.

One of the most powerful devices of poetry is the use of distortions. You can go from talking about the way a minute passes to the way a century passes, or a lifetime.

Alchemy is the art of far and near, and I think poetry is alchemy in that way. It's delightful to distort size, to see something that's tiny as though it were vast.

A poem in form still has to have voice, gesture, a sense of discovery, a metaphoric connection, as any poetry does.

The fact that something is in a rhymed form or in blank verse will not make it good poetry.

What actually makes poetry poetry is of course impossible to define. We recognize it when we hear it, when we see it, but we can't define it.

The idea of avant-garde art is a very suspicious thing to me, the idea that poetry is new and it keeps being new the way Chevrolets every year are new.

Part of what we love about poetry is the fact that it seems ancient, that it has an authority of ancient language and ancient form, and that it's timeless, that it reaches back.