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 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.

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 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.

So he'll keep dragging himself up this bridge between possible worlds, this rickety ruin of light, trying to imagine it might matter if he makes it to the other side.

Dogmatism is inversely proportional to evidence.

A life is no less valuable or beloved if one lives in an age of decline, than in an age of progress.

I come from a musical kind of family.

As I do with most films, I try and find some music that you could use throughout, not just a sampling of lots of different artists.

I enjoy writing rhymes and sitting alone in a room listening to beats. It's pretty amazing.

I was feeling very irritable. It was that difficult time of the month when the credit card statement arrives.

I want to be a person crazy about music.

Fascism is capitalism in decay.

The people are the foundation of the nation. Our only chance for a lasting peace on earth: the release of the strength of the common man.