A problem maybe is, how do you not get but allow the world into your writing. And then what world? Through what vocabulary? In poetry where referents make cameos in each others' scenarios, is that linguistic speed-dating? Whalen's graph of a mind of a moving is the still the least constricted, laterally reactive model. What's there? Patrick Kavanagh said something like 'That pint, there in front of you.' But then where's the interface between the pint and the pint at the end of the mind? Why a pint? Because he was in McDade's and one was there in front of him. If I write from anything, it's from what I guess is my present circumstance. And it becomes itself really in the writing. Process seems limited as a word. It implies a Pint A and a Pint B. Poems don't end, as long as they're read. They're looked at, and read.

You have to do so much in a poem. It's unbelievable! There are no demands.