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I write as a way of keeping myself going. You build your life around writing, and it's what gets you through. So it's partly just curiosity to see what you can do.

I think that it's more likely that in my 60s and 70s I will be writing poetry rather than fiction.

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I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.

In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.

Pound's translation of Chinese poetry was maybe the most important thing I read. Eliot a little bit later.

It was less a literary thing than a linguistic, philosophical preoccupation... discovering how far you can go with language to create immediate, elementary experience.

In the later books I am much more at home in the use of language to describe things. I had never thought of that until a critic pointed that out.

You have to really dive deep back into yourself and get rid of so much modern analytical categorization. It's one of the great things poetry does.

The great watershed of modern poetry is French, more than English.

Philip Larkin has a tough honesty and sense of humor that I find irresistible, as a contemporary poet.

Among the American contemporaries I read with most enjoyment are several North Carolinians. I think the best poetry being written these days is being written by Southerners.

The Language Poets are writing only about language itself. The Ashbery poets are writing only about poetry itself. That seems to me a kind of dead end.

Southern poets are still writing narrative poems, poems in forms, dramatic poems.

Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.

Our most famous writers are Faulkner and Eudora Welty and Flannery O'Connor. It would make sense that the poetry would reflect some of those same values, some of the same techniques.

Some people want to call me an Appalachian writer, even though I know some people use regional labels to belittle.

If people associate me with a region, that's fine with me.

With prose you can incorporate more details, develop scenes, sustain the tension in a special way. Prose has its own speed.

In the best fiction, the language itself can become almost invisible.

Fiction is about intimacy with characters, events, places.

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