The more prose I wrote, the more the pendulum swung back toward the middle, merging some poetic sensibilities with the more fundamental elements of creative prose.

Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity, the grit and grimness and jubilance and beauty.

My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself.

Being deeply aware of fragility and ecstasy seems to me an essential part of being alive and living fully - and there's no way for me to separate this from my poems.

I think of my best poems as vessels that I can or hope to fill with everything I have. I try to give to them all of the electric complexity. Each one fails at this, of course, but I keep trying - adoring each of them, loving the process, the ebb and flow of it - and each time, the failures fail a bit better.

Poetry does need a bit of ferocity. The only way to attend to the fractured world is to write a ferocious kind of music, to sing that volatility.

I see the relationship sincerity/humor differently. Instead of seeing a balance between them, I see them more inextricably linked, as if one is the hard candy shell that gives to the other, or one is the apparition, the ghost-image that invokes the other.

The world comes to us in fragments and shards. Whatever stories we shape from our days, we're always dealing with gaps, blank-spots, and blackouts - and in handling all these breakages, we are, at all times, so incredibly intimate with sharp edges, the unending knife-like moments of failure and joy in our lives.

I think of my best poems as vessels that I can or hope to fill with everything I have.

Well, we're all going to die, so mortality is a part of writing and life.

I found it incredibly challenging to write clear prose that had the dynamism that I wanted.