Some writers claim to extrude a book at an even rate like toothpaste from a tube, or to build a story like a wall, so many feet per day. They sit at their desk and knock off their word quota, then frisk into their leisured evening, preening themselves. This is so alien to me that it might be another trade entirely.

And yet, despite the high moral and ethical quality of social commiseration, political dedication and a deep commitment to equity, there was something rather disturbing about standard leftwing politics of that time: in particular, its scepticism of process-oriented political thinking, including democratic procedures that permit pluralism. The major institutions of democracy got no more credit than what could be portioned out to what was seen as "bourgeois democracy," on the deficiencies of which the critics were most vocal. The power of money in many democratic practices was rightly identified, but the alternatives – including the terrible abuses of non-oppositional politics – did not receive serious critical scrutiny.

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.

I can understand if you think that I'm disrespecting the flag by kneeling, but it is because of my utmost respect for the flag and the promise it represents that I have chosen to demonstrate in this way. When I take a knee, I am facing the flag with my full body, staring straight into the heart of our country's ultimate symbol of freedom — because I believe it is my responsibility, just as it is yours, to ensure that freedom is afforded to everyone in this country.

Very much so. I went to synagogue regularly. My first education was interpreting the Bible. But I also grew up with German folk songs and stories, which became as much a part of my imagination as the Bible stories. My sense of history came from these stories—I was fascinated with what you might call fairy-tale-shaped history. But from the beginning I felt I belonged to a different people, which wasn’t any problem for me. I made the German landscape, which was very beautiful to me—flowing rivers, mountains, forests, lakes—into a biblical landscape. The valley of sunshine into which we went on school excursions in my imagination became the valley in which David and Goliath fought.