When I was a kid, there was unhappiness in my family - was dealt with partly by escaping to television. And from a very early age, for whatever reason, I became scornful and resistant to and angry about that. And some other time in my life, I realized that there's a lot I loved in television.
'Write' is almost the wrong verb for what I do. I think 'compose' is more accurate because you're trying to make the sounds in your mind and in your voice. So I compose while I'm driving or in the shower.
When I was a teenager, just about the only thing I could do right was play music. In my graduating class, I was certainly not voted 'Most Literary Boy.' I can assure you I was not voted 'Mostly Likely to Succeed.' I was voted 'Most Musical Boy.' And the music led to the poetry.
To me, writing is a matter of voice. I think like that. The expression I sometimes use to myself is 'actual song.' That what I do is somewhere on the line between speaking to you as I am now and actual song. And the things I love when I say one of those poems to myself - it's a little bit like singing, it's a little bit like speaking.
The best argument for teaching poetry is to put a three-year-old or a four-year-old and read Dr. Seuss, or Robert Louis Stevenson, and to feel how the child and you are engaging in something that's really basic to the animal, which is passing on in these rhythmic ways, something that came from somewhere.
Jazz and poetry both involve a structure that may be familiar and to some extent predictable. And then, you try to create as much surprise and spontaneity and feeling and variation while respecting that structure.
If you want to make films, you'll watch Kurosawa. If you want to play a violin, you listen to Seghetti. Same with somebody who has the ambition to play in the NBA. I watch a basketball game; I enjoy it. Somebody who really wants to learn to play is studying whatever is most magnificent that's going on out there.
I love form, but I'm not interested in forms. I've never written a sonnet or villanelle or sestina or any of that. For me, it's a kind of line. It's a rhythm. It's something musical.
I delight sometimes in saying to - as when I'm a teacher, I love saying, 'This is really important, so don't write it down.' To me, what you retain is a very important filter.
I am a frustrated saxophone player. If I could, I would abandon all of my books, and I would trade it all if I could play the way people I admire play.
For a lot of people, well-meaning teaching has made poetry seem arcane, difficult, a kind of brown-knotting medicine that might be good for you but doesn't taste so good. So I tried to make a collection of poetry that would be fun. And that would bring out poetry as an art, rather than the challenge to say smart things.
The last thing a young artist should do in poetry or any other field is think about what's in style, what's current, what are the trends. Think instead of what you like to read, what do you admire, what you like to listen to in music. What do you like to look at in architecture? Try to make a poem that has some of those qualities.
I'm far from immune to the American, perhaps historically male, prejudice toward practical and physical competence; I hope I've also considered that prejudice enough to have some distance from it.
All questions of process require an answer that begins with a very important sentence, and the sentence is: 'Everybody is different.' Whatever way of working you name - methodical, haphazard, gets up early in the morning, sleeps all day, works at night, revises immensely, never revises at all - someone has made great work with that way.
New Jersey is the most poetic state: close enough to New York to be urban and cosmopolitan, far enough to be desirous and unsure; densely populated, but full of farms and woods, with the most deer of any state.
