Because the Illinois death penalty system is arbitrary and capricious - and therefore immoral - I no longer shall tinker with the machinery of death.
Many of the poems weave autobiographical elements with fabular or mythic materials.
I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.
I'm very interested in the materiality of language. I wonder if, perhaps, this comes from my background in the visual arts. I was a potter for a number of years and earned a BFA in art before going to graduate school for creative writing.
I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.
I think the grotesque can inspire intimacy (it draws us in) as well as awe, like the cabinets of curiosities.
I tend to gravitate toward the realm of superstition (cures and such) and odd scientific facts (like bioluminescent shrimp and fistulated cows). I like the intimacy that I often find in the grotesque.
What is left when honor is lost?
The good life is using your signature strengths every day to produce authentic happiness and abundant gratification.
If I could offer a single prescription for the survival of America, and particularly black America, it would be to restore the family. And if you asked me how to do it, my answer - doubtlessly oversimplified - would be; save the boys.
I lived in New York my whole life. Like every New Yorker, I have stories about spending summers on the Jersey shore, riding the roller coaster in Seaside that is now famous for that sickening photo of it being washed out to sea.