When my work does speak to audiences, when it creates audiences around it, I feel a little less crazy because what that means is that there are folks out there who are interested in thinking about themselves and the world through a prism. The prism is a labor and there can be a pleasure in labor.

When I am writing poetry, I try to make my mind go a little lazy, to not think too much, as a way of opening up the part of the brain that makes poems. If I'm successful in this part of the process I'm often not. If my mind gets too lazy it will linger in familiar boring territory, it's like my mind can stroke the physical world.

The precise laziness is akin to letting your eyes blur or glimpsing what's at the corners in peripheral vision. Or those moments when you think you see something but you're not sure you actually saw it in the end. The way I get to these places is just practice, like a kind of meditation that shapes my brain.

I've long been a fan of Adrian Piper's work. I find her performance pieces moving in their willingness to lean toward the absurd. Yet, there's a social critique in her interaction with people who may or may not have understood that the artist was present.

Can poetry be a form of social change? I don't know the answer to that. I do think art can have a social impact even if it may be difficult to see the effects of that impact, to assess or measure it.

I often feel trapped. I often feel like I'm trying to escape some trap, be it a way of thinking, a compulsion, or a way of life. I believe this persistent feeling comes from childhood traumas that stripped away my power. The effect, though, the resulting persistent desire to stretch out of confinement even when confinement is inevitable, is a gift.