As a teacher you are more or less obliged to pay the same amount of attention to everything. That can wear you down.
Clearly, once the student is no longer a student the possibilities of relationship are enlarged.
Poetry seems to have been eliminated as a literary genre, and installed instead, as a kind of spiritual aerobic exercise - nobody need read it, but anybody can do it.
When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.
I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.
Translation is an interestingly different way to be involved both with poetry and with the language that I've found myself living in much of the time. I think the two feed each other.
Everyone thinks they're going to write one book of poems or one novel.
My mother was told she couldn't go to medical school because she was a woman and a Jew. So she became a teacher in the New York City public school system.
You are almost not free, if you are teaching a group of graduate students, to become friends with one of them. I don't mean anything erotically charged, just a friendship.
I started to send my work to journals when I was 26, which was just a question of when I got the courage up. They were mostly journals I had been reading for the previous six or seven years.
Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.