There have been two popular subjects for poetry in the last few decades: the Vietnam War and AIDS, about both of which almost all of us have felt deeply.

I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.

We learned in the university to consider Wordsworth and Keats as Romantics. They were only a generation apart, but Wordsworth didn't even read Keats's book when he gave him a copy.

Many of my poems are not sexual.

When I was an undergraduate I had very badly annotated editions of Shakespeare's sonnets, all of which left out the important fact that will has a sexual sense in Shakespeare's sonnets.

I work best in rhyme and meter. I was most confident of myself in that way.

I had assumed that I would age with all my friends growing old around me, dying off very gradually one by one. And here was a plague that cut them off so early.

It was difficult being a teacher and out of the closet in the '50s. By the time I retired, the English department was proud of having a gay poet of a certain minor fame. It was a very satisfactory change!

I was much influenced by Jean-Paul Sartre.

I haven't written anything in four years. I'm sort of dried up.

I don't think of sex as a self-destructive impulse.

While I don't satisfy my curiosity about the way I work, I'm terribly curious about the way other poets work. But I would think that's true about many of us.

Ginsberg's Collected Poems contains a wonderful poem about making it with Neal Cassady.

When I first started teaching at Berkeley in 1958, I could not announce that I was gay to anybody, though probably quite a few of my fellow teachers knew.

I try not to observe myself in the process of composing a poem because I don't want to come up with a formula, which I would then be unscrupulous in using.

My old teacher's definition of poetry is an attempt to understand.

We control the content of our dreams.

I deliberately wrote a poem in my last book where I was suggesting that there are other passions as great as or more important than the passion of sex.

I think most men, heterosexual and homosexual, enjoy being considered sexual objects.

I admired what my students were writing, but I think their improvement doesn't directly result from me but from being in a class, being with each other.

When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.

There have been two popular subjects for poetry in the last few decades: the Vietnam War and AIDS, about both of which almost all of us have felt deeply.

Deep feeling doesn't make for good poetry. A way with language would be a bit of help.

I deliberately decided to write a kind of guide to leather bars for straight people, for people not into leather, so that people could see what it was all about.

We tend to put poems into factions. And it restricts our reading.

I don't know how to sit outside myself and test against a hypothetical self who stayed home.

I was at a benefit for some imprisoned students in the '60s at San Francisco State, and there were lots of poets reading for the benefit: one was Elizabeth Bishop.

As humans we look at things and think about what we've looked at. We treasure it in a kind of private art gallery.

I notice that students, particularly for gay students, it's too easy to write about my last trick or something. It's not very interesting to the reader.

Still, language is resilient, and poetry when it is pressured simply goes underground.

I grew up in this town, my poetry was born between the hill and the river, it took its voice from the rain, and like the timber, it steeped itself in the forests.

Art: If the object of poetry is, to make men, then poetry is the heir of prophecy.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

But in the finished art of the song the use of words has no connection with the use of words in poetry.

The gross heathenism of civilization has generally destroyed nature, and poetry, and all that is spiritual.

Poetry is a matter of life, not just a matter of language.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

Because people are very interested in my poetry, in what I say.

The poetry from the eighteenth century was prose; the prose from the seventeenth century was poetry.

It is the timber of poetry that wears most surely, and there is no timber that has not strong roots among the clay and worms.

I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

Poetry is fascinating. As soon as it begins the poetry has changed the thing into something extra, and somehow prose can go over into poetry.

Poetry is an art, the easiest to dabble in, but the hardest to reach true excellence.

Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.

Narrative art, the novel, from Murasaki to Proust, has produced great works of poetry.

To know anything of a poet but his poetry is, so far as the poetry is concerned, to know something that may be entertaining, even delightful, but is certainly inessential.

Lapped in poetry, wrapped in the picturesque, armed with logical sentences and inalienable words.

I don't know a better preparation for life than a love of poetry and a good digestion.