I tend to employ braided narrative threads in the lyric, so often echoes (of phrases or images) will occur and will hit my ear so I can shape different resonances and shifts in tone.

I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.

My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.

I think the grotesque can inspire intimacy (it draws us in) as well as awe, like the cabinets of curiosities.

Many of the poems weave autobiographical elements with fabular or mythic materials.

Many of the poets I most admire have a way of embodying their peculiar obsessions via landscape that can sometimes seem magical.

The world doesn't make sense, so why should I paint pictures that do?

Know yourself who you are, Know your inner potentials, motivations and purposes, Know what blocks you.

Groan under gold, yet weep for want of bread.

Every couple goes through things.

The passion that transforms life, and art, did not seem to be mine.

I see that it is by no means useless to travel, if a man wants to see something new

Comedy's easy for me now - it's all about timing and the way you deliver lines. I use facial expressions to get the point across.

We Germans are the most universal, the most European people of Europe.

How can I ignore the Boy Next Door?

Mathematics is the gate and key to science.