“In art, I think that outrage might lead me to the page, but it has to go sit down somewhere else when I’m writing a poem, because — I really do believe this — a good poem isn’t going to be the result of the certainty that drives emotions like anger and outrage. If I know I’m right, and they are wrong, my poem is going to be a tract. But if I can say, what are the weird spaces that are under-imagined? What are the areas where I either am already perpetuating something that is part of what I envision as the problem, or what are the imagined spaces I can enter into where I have to get uncomfortably close to that problem? That’s where something really, I think, interesting starts to happen. I might finish a poem and see something differently. It doesn’t necessarily change the sense of outrage that I might also feel, but it’s illuminated something that feels productive.”