Nature poets can't walk across the backyard without tripping over an epiphany.

To be truly alive is to feel one's ultimate existence within one's daily existence.

God is with us, not beyond us, in suffering.

Wonder is the precondition for all wisdom.

I'm drawn to this range, that's for sure, but I suppose the thing that most appeals to me about Mandelstam is the sense you get from every poem that everything - the poet's very soul - is at stake.

It's just that different emotions and perceptions demand different frequencies and intensities.

What we call doubt is often simply dullness of mind and spirit, not the absence of faith at all, but faith latent with the lives we are not quite living, God dormant in the world to which we are not quite giving our best selves.

Human imagination is not simply our means of reaching out to God but God's means of manifesting himself to us.

One of the qualities essential to being good at reading poetry is also one of the qualities essential to being good at life: a capacity for surprise. It’s easy to become so mired in our likes or dislikes that we can no longer recall that person who once responded to poems—and to people—without any preconceived notions of what we wanted them to be.

Mandelstam is the sort of poet who comes along very, very rarely. Even the two Russian poets whose work is often linked with his - Anna Akhmatova and Marina Tsvetaeva - though their work is more urgent than most American poetry, seem to me to operate at a lesser charge than Mandelstam.

The horrors have made the legend of Mandelstam and are inevitably the lens through which we read his work and life. But if there had been no Stalin and no purge, Mandelstam still would have been a poet of severe emotional and existential extremity.

I can't think offhand of any American poets who have Mandelstam's urgency, but it's a different country and a different time, and I don't think it would make much sense to say that this is something that's missing from contemporary American poetry.

I don't think that someone who does not speak the original language can ever expect to produce a real translation.

There are dangers for an artist in any academic environment. Academia rewards people who know their own minds and have developed an ironclad confidence in speaking them. That kind of assurance is death for an artist.