I had assumed that I would age with all my friends growing old around me, dying off very gradually one by one. And here was a plague that cut them off so early.
We learned in the university to consider Wordsworth and Keats as Romantics. They were only a generation apart, but Wordsworth didn't even read Keats's book when he gave him a copy.
We tend to put poems into factions. And it restricts our reading.
I don't know how to sit outside myself and test against a hypothetical self who stayed home.
It was difficult being a teacher and out of the closet in the '50s. By the time I retired, the English department was proud of having a gay poet of a certain minor fame. It was a very satisfactory change!
While I don't satisfy my curiosity about the way I work, I'm terribly curious about the way other poets work. But I would think that's true about many of us.
We control the content of our dreams.
There have been two popular subjects for poetry in the last few decades: the Vietnam War and AIDS, about both of which almost all of us have felt deeply.
When I first started teaching at Berkeley in 1958, I could not announce that I was gay to anybody, though probably quite a few of my fellow teachers knew.
I was at a benefit for some imprisoned students in the '60s at San Francisco State, and there were lots of poets reading for the benefit: one was Elizabeth Bishop.
I haven't written anything in four years. I'm sort of dried up.
I was much influenced by Jean-Paul Sartre.
I try not to observe myself in the process of composing a poem because I don't want to come up with a formula, which I would then be unscrupulous in using.
When I was an undergraduate I had very badly annotated editions of Shakespeare's sonnets, all of which left out the important fact that will has a sexual sense in Shakespeare's sonnets.
Ginsberg's Collected Poems contains a wonderful poem about making it with Neal Cassady.
When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.
I work best in rhyme and meter. I was most confident of myself in that way.
I admired what my students were writing, but I think their improvement doesn't directly result from me but from being in a class, being with each other.
As humans we look at things and think about what we've looked at. We treasure it in a kind of private art gallery.
Deep feeling doesn't make for good poetry. A way with language would be a bit of help.
