Reading should be a repeat performance.

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

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.

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

Reading should be a repeat performance.

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.

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 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.

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

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

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 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.

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.

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.

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

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

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

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

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

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

Who is the ideal reader? God only knows.

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

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

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

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

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.

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

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.

I feel very connected to poets across the country.

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

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.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Firms would be given initial entitlements to gross markup on the basis of past performance. These entitlements would be transferable and a market in them would be developed.

Humans are imperfect. That's one of the reasons that classical and jazz are in trouble. We're on the quest for the perfect performance and every note has to be right. Man, every note is not right in life.

And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.

To boast of a performance which I cannot beat is merely stupid vanity. And if I can beat it that means there is nothing special about it. What has passed is already finished with. What I find more interesting is what is still to come.

The next day I was in my school's production of All My Sons. This was the performance where I realized something was happening between me and the audience that I hadn't recognized before.

From protecting our natural resources to providing maritime security and national defense, the Coast Guard's duties are broad in scope, and the performance of those duties has never been more important.

To vote is like the payment of a debt, a duty never to be neglected, if its performance is possible.

I think my expectations for myself are much more severe and much more direct. You can't work on a film for six years without being your own toughest critic. So you can't really be distracted by the expectations based on your previous performance.

Unless an entire row of people got up in the middle of a performance and left the theater in disgust, I felt as though I hadn't done my job.

I'd also like to do a play. I've never done theater, and constantly changing and refining a performance is something I'd like to do, even though it may sound like work to some people - and it probably is work.

What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition.

I always want to do things that are different. I don't want to be doing the same thing, the same performance constantly, and it feels like most people tell you that they are the same. However different you feel might approach them.

I've done scenes in films that I felt like the performance was better in certain takes, but they couldn't use them because it didn't match what the person was doing when they came around and the camera was on them.

I am always more interested in performance and character depiction, and my direction says as much.

Did you know I staged the first performance in America of At the Hawk's Well?