"When I was a teenager, I was given an anthology and the poets I most loved there were William Carlos Williams and Emily Dickinson. So I was drawn to poems that seemed as if they were either going to vanish or explode - to extremes, in other words, radical poetries. But how do we define “radical?” Perhaps by how much is put at risk in the text, how far the arc of implication can reach and still seem apt. But so much rides, as always, on that word “seems.” Is a writing radical when it risks being wrong, when it acknowledges our wrongness? I think my poetry involves an equal counter-weight of assertion and doubt. It’s a Cheshire poetics, one that points two ways then vanishes in the blur of what is seen and what is seeing, what can be known and what it is to know. That double-bind."