I sometimes like to tinker with poems that have failed, ones that I have sent aside. Even years afterward, I will revisit them if there is something about them that I cannot give up on.

We are comfortable with the fact that we cannot know personally what happened in the world before we were born, yet we are uncomfortable with the notion that we will stop engaging with time at some point in the future.

Who is the ideal reader? God only knows.

I would not say I chose to write long poems on a conscious level. The long poem has been a relative constant.

The point of an experiment is not to arrive at a predetermined end point, to prove or disprove anything, but to deliver a poem that reveals much about the process taken.

To me many short poems read and write like beginnings that simply whet my appetite; I want to get over that.

Sometimes poetry is inspired by the conversation entered into by reading other poems.

Reading should be a repeat performance.

Most victims of my autobiographical verse are either far too polite, remarkably understanding unaware that I have written poems about them.

In the past, poetry came in the form of spells and chants used to effect change.

A literary journal is intended to connect writer with reader; the role of the editor is to mediate.

The poet must decide not to impose his feelings in order to write without sentimentality.

I find it exhausting to administer a magazine without an office or paid staff.

Poets can’t resist the dramatic pull of their lives and so inevitably write autobiographical verse.

I consider a poem to be a kind of experiment where a number of elements are brought together under test conditions to see how they will interact to create meaning or relevance.

I have become intrigued with the combining of seemingly unrelated ideas or images, or the drawing upon the many, sometimes dissimilar, meanings a word might have.

No poem is easily grasped; so why should any reader expect fast results?

An experienced reader uses the poem as an agent of inquiry. This makes poetry very exciting, unstable, and interactive.

Writing can sometimes be exploitative. I like to take a few steps of remove in order to respect the privacy of the subject. If readers make the link, they have engaged with the poem.

I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.

If poetry alters the way in which the reader views the world, then it has had its desired effect.

I have always been very obsessed with time. Time’s passage makes us all very vulnerable and because we all experience it in our own way, it can make us feel very alone.

The reader’s challenge is to replicate the experiment by reading the poem and to draw their own conclusions.

My obsession with time informs my poetry so completely it is hard for me to summarize it. We want time to pass, for new things to happen to us, we want to hold on to certain moments, we don’t want our lives to end.

You can never step into the same book twice, because you are different each time you read it.

Some readers allow their prejudices to blind them. A good reader knows how to disregard inappropriate responses.

The experiment of the poem is mostly intuitive. I write the first draft, pulling in the various elements that interest me, in the hope that their being combined will lead to some kind of insight.

I sometimes like to tinker with poems that have failed, ones that I have sent aside. Even years afterward, I will revisit them if there is something about them that I cannot give up on.

Poetry is but another form of inquiry into the nature of phenomena, using with its own unique procedures and tools.

Poets have to be sensitive to their audience, but it does not mean that they censor themselves. I realise my audience is diverse. Some will read with empathy and curiosity while others will take offense.

The community of poets I belong to is not as close as it used to be, if only for the fact that our lives have become busier: jobs, children, and the like.

I feel very connected to poets across the country.

I have been told by a member of the board of one of Canada’s most prominent literary magazines that a submission of mine once caused a great deal of controversy.