If poetry alters the way in which the reader views the world, then it has had its desired effect.
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.
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.
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.
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 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.
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.
I find it exhausting to administer a magazine without an office or paid staff.
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.
No poem is easily grasped; so why should any reader expect fast results?
A literary journal is intended to connect writer with reader; the role of the editor is to mediate.
You can never step into the same book twice, because you are different each time you read it.
Most victims of my autobiographical verse are either far too polite, remarkably understanding unaware that I have written poems about them.
An experienced reader uses the poem as an agent of inquiry. This makes poetry very exciting, unstable, and interactive.
I feel very connected to poets across the country.
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