If only we could touch the things of this world at their center, if we could only hear tiny leaves of birch struggling toward April, then we would know.

Each of us as poets, as decent suffering human beings, has to find a way to run our lives that is compassionate toward one another and toward our environment.

The oldest cliché in the world is about what's lost in translation, but you don't very often read much intelligent about what's gained by translation, and the answer is everything. Our language is a compendium of translation.

Of course, there are some people who behave rudely. Allen Ginsberg used to like to get up in public and take his clothes off. I don't do that, but I liked Allen Ginsberg. He was a nice guy.

There's a fragment that goes, Some say the most beautiful thing in the world is a great cavalry riding down over the hill. Others say it's a vast infantry on the march. But I say the most beautiful thing is the beloved. How political can you get?

Poets should speak out against what we see as the assault against our Constitution and the warmongering that's going on. I'm perfectly willing to lay down my life for my Constitution, but I am not willing to take a life for it or any other reason because I think killing people is counterproductive.

We're certainly not perfect, and we're not probably even better than anybody else, except that perhaps we are given to certain kinds of contemplation that provide a valuable balance to the knee-jerk reactionary behavior of most of our newspapers and political leaders. Poets are great doubters.

It would be nice if all the Republicans could put poetry in a little box and put the box under the bed and sit on it, but they can't.

Nothing will change until we demolish the we-they mentality. We are human, and therefore all human concerns are ours. And those concerns are personal.

George W. Bush is using language that's a mirror image of the language of Osama bin Laden when he says, We have God on our side. This is the struggle of good against evil.

Poetry teaches us things that cannot be learned in prose, such as certain kinds of irony or the importance of the unsaid. The most important element of any poem is the part that is left unsaid. So the poetry frames the experience that lies beyond naming.

I would say that my great political awakening was really born on Okinawa, reading Albert Camus: the Neither Victims nor Executioners essay and The Rebel. I was an eighteen-year-old kid. I hated myself. I hated my life. I thought nobody wanted me.

Most of the ugly wars in history have been wars of religion. And there's nothing more dangerous than someone with religious certitude who creates consequences in the world that to me are simply inexcusable.

We poets don't tend to be certain a lot. Much of our art is made out of our own uncertainty. And there is a not-knowingness, I think, that leads us back to suffering humanity with a more compassionate vision than most of our politicians have.

Just as I wonder whether it's going to die, the orchid blossoms and I can't explain why it moves my heart, why such pleasure comes from one small bud on a long spindly stem, one blood red gold flower opening at mid-summer, tiny, perfect in its hour.

When these idiot rightwingers start complaining about poetry being political, I'm fond of reciting Sappho to them, who excluded men from her world. Why does she exclude them? Mostly because of their warmongering.