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It is a way we reassess our past. We can do that in poetry in ways we can't do in prose.
In order to understand what they need to understand, in order to write what they write, they have to be free. And yet, they aren't ever free. They are not free because they are not free of the constrictions their art puts on them.
In my youth, I found that I was quite often inspired and pushed forward by what I read.
If poets were realistic, they wouldn't be poets.
If I were brave enough to say so, I'd like to think that I had written some poems that people are not going to forget.
I would like to be proud of having written some poems that will be remembered, but I will never know whether I will have any reason to be proud of that.
I think poetry has lost an awful lot of its muscle because nobody knows any. Nobody has to memorize poetry.
I like poems that are little games
I like poems that are complex.
I just think that some version of the past in our culture is going to rise up and become dominant.
Frost is the most sophisticated of poets.
For instance, it's a little better now than it was two or three years ago, but something like 70% of the poems I receive seem to be written in the present indicative.
Every so often I find some poems that are too good for the readers of The Atlantic because they are a little too involved with the nature of poetry, as such.
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