Luckily, I got at a very early age the idea that the safest way to try and get what you want is to try and deserve what you want. It's such a simple idea. It's the golden rule so to speak. You want to deliver to the world what you would buy if you were on the other end. There is no ethos, in my opinion, that is better for any lawyer or any other person to have.

By the way, the guys with very high grades are not necessarily the people that are the most successful in later life. They may be the ones that can regurgitate gracefully, and they get very high grades. But if the guys that have to work for it and do not have such good grades can do something extra, and prove that they can perform, they may have a chance.

Marry somebody you love and who thinks you being a writer’s a good idea.

Getting rich slow isn't actually slower. It's slower in year one, but it might be faster in year seven.

This poem—I still remember the emotion which accompanied its beginnings, actually just the birth of the line “try to praise the mutilated world”; it happened in a train in Germany, I think (trains are good for inspiration, sometimes). It was for me a simple juxtaposition of two contrary deeply felt convictions.

I never know who I am.

Well, in a certain sense, the decision that I was the one who was going to be writing was already formed when I was 12 years old when I was spending those winter evenings reading Verne and other authors; I thought then that books were the best thing in the world. That this was something I wanted to do.

Once in a while it vanishes—in the sense that I become deaf to beauty for a week or two or three. This coming and going of the inner life—because this is what it is—is a curse and a blessing. ... A blessing because it brings about a movement, an energy which, when it peaks, creates a poem. Or a moment of happiness.

Yes, because it seems to me that poetry cannot be hermetically closed to thinking. And thinking always enters the field of contradiction. So it also has to do with the way I try to reconcile poetry versus thinking. … I think you’re right that for many American poets, poetry is almost an escape from the cruelty of thinking, from the choices you make when you think. Escaping your life—which may be tragic, but it’s not problematic. So I see it differently, as a necessity to confront these categories.

Well, that’s the optimistic reading of it, which you are never able to apply when it happens. You can read it this way when it’s over. Rationally speaking, it’s a period that’s needed, because the danger for every poet, I think, is to write too much. So these are the blessed moments of silence, protecting you from writing too many poems, diluting you and what you have to say in a stream of banal poems. It’s necessary, but still very painful, because I just don’t know what to do if I don’t write poems. I still survive, but it is painful.