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What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.

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I don't say it idly that Frost is a big influence on me - though there are other influences.

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It's not as if I'm trying to write crossword puzzles to which one might find an answer at the back of the book or anything like that.

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It seems to me the structure of the Quartets is too imposed.

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The other side of it is that, despite all that, people reach out to poetry at the key moments in their lives.

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One would have liked those titles to be almost invisible, to only flash up, as it were, for a moment on the screen.

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Let's face it, confusion is what we're living with - not being able to make sense of what's happening to us from day to day.

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One will never again look at a birch tree, after the Robert Frost poem, in exactly the same way.

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Although I read some fiction, I don't even try to keep in touch with it!

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Living at that pitch, on that edge, is something which many poets engage in to some extent.

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Last year I was a judge for a prize in England, the T.S. Eliot Prize, so I read everything that was published in England last year.

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On the one hand there's the wonderful chanciness and randomness of things, and on the other hand there's a terrifying predictability.

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I do a lot of readings.

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One of the kinds of poems I'm interested in writing is one which gives the impression that it had to be the way it is.

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I think it's too simple to say that violence equals energy; people have said that along the way. Violence is debilitating as much as anything else.

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I suppose I tend to prefer concrete imagery rather than more analytical language.

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Finally, I suppose, I'm interested in poems where one isn't stopped or where one is only stopped for a good reason.

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I'm not an expert in physics or cosmology or any of these matters, but the more we discover about how the world works the more we see these unpatterned patterns - all these orbits and orders and, within them, these variations.

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I believe that these devices like repetition and rhyme are not artificial, that they're not imposed, somehow, on the language.

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I'm sure 50 percent of television ads use rhyme.

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