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So another formal
question I have,

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and going back to your
discussion of the sentences.

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I think it's very interesting
in earlier of your books,

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like String Light you
have several poems where

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the sentences are
literally pulled apart

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with insertion of white space.

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And then in the
next book, Tremble

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you break sentences apart with
punctuation, with periods.

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It almost seems in a
few of the poems there.

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And I'm wondering if it
is different musically

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in your head, what
you're writing now,

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with the sentences in
the flow of the sentence

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rather than the scoring of
breaking up the sentence

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and working crazily.

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Yeah, punctuation.

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I mean, I've never been very
good at orthodox punctuation.

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So I had to find ways to
try to use it for effect.

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I mean, when I had a
couple of lines like, even.

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If.

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The.

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Sky.

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Is.

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Falling.

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My.

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Peace.

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Rose.

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Is.

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In.

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Bloom.

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I put a period after
each word because I

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wanted it to be very
staccato without breaking

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a line after each word.

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So I play around
with punctuation

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as a way to try to make it
do something besides just

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be sort of salt and pepper
on the page, work for me

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effectually.

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So is that one of
the things that you

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feel you've grown out of,
or you've gotten bored with?

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No, but I got tired of beginning
to end narratives with just

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broken out in similes.

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That's when I got real tired.

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But I got pretty good at it,
before I got tired of it.

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I remember years ago reading
the text with one of the earlier

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books of Georgia
O'Keeffe's plates,

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and she said that she
did everything she could

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in black and white until
she had exhausted everything

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she had to say in
charcoal, and until she

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was fluent in her medium.

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Which I thought was
very interesting thing

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for someone who's essentially
known as a colorist

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to say about what they did to
lay the bed for their work.

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