In fact, in some ways, I actually feel much more confident about the quality of Carousel than I do about The Cottage Builder's Letter: probably because of its cohesive nature.
With 'Carousel' I had an idea and it all came out quickly.
I think, for me, humour needs to be used like a strong spice - sparingly.
A sequence works in a way a collection never can.
I feel as though I've fooled the world into thinking I'm an adult and now they're letting me procreate.
I guess there is also an element of deliberate change involved. Each of my books has been, at least from my point of view, radically different from the last.
Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived prestige.
I think the main influence has been living in New York City. Aside from all the crap around 9/11, I find it very demanding to think amid all the noise and visual pollution.
I wanted to rock back and forth between myth and distant futures, yesterday, today, and tomorrow. It felt a bit like prophecy and a bit like storytelling.
I do try to let what is obviously unintended yet naturally good stay in.
I still write the occasional short story, and poked at a novel once, but it's just not what I want to do.
I suppress the vast majority of what I write.
I was writing notes, but not composing poems. The Hunter began to develop out of this fragmented process.
New York was breaking my concentration and disintegrating my thoughts.
Well, we all start thinking we're going to be Romantic rock stars, but then reality hits and you realize no one reads you but other poets.
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