And now, in honour of the 150th anniversary of Beethoven's death, I would like to play 'Clear the Saloon', er, 'Clair de Lune', by Debussy. I don't play Beethoven so well, but I play Debussy very badly, and Beethoven would have liked that.
I wouldn't want to hear Beethoven without beautiful bass, the cellos, the tuba. It's very important. Hip-hop has thunderous bass. And so does Beethoven. If you don't have the bass, it's like being amputated. It's like you have no legs.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
Beethoven tells you what it's like to be Beethoven and Mozart tells you what it's like to be human. Bach tells you what it's like to be the universe.
I am a relatively rational being and I like to create order in poems. I like meter, I like rhyme, but ultimately I don't know where the poems come from, and I feel, at least in the beginning, that I'm taking dictation from my own dream that I don't remember.
It's funny, because in 1970 I met the Beatles quite by a chance at a party. It was the Beethoven bicentenary, and I was then also playing the Beethoven Sonatas. And that's all they wanted to hear about - I wanted to talk about them, and all they wanted to talk about was Beethoven.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
When you're a kid, Beethoven is Beethoven, but as I've grown older, my astonishment at the sheer inventiveness of the man has increased, and I have an appreciation that I didn't have when I was in my 20s.
Playing the Beethoven symphonies, for example, is a consummate experience for a musician because Beethoven speaks so directly to who we are as people.
I also like poems that are haunted by a structure or a narrative, or poems that frisk flirtatiously at the boundary of sense.
Beethoven's reputation is based entirely on gossip. The middle Beethoven represents a supreme example of a composer on an ego trip.
My husband's family was terribly refined. Within their circle you could know Beethoven, but God forbid if you were Beethoven.
People become who they are. Even Beethoven became Beethoven.
If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
I call the notion that we are nothing but killer apes the Beethoven fallacy. Beethoven was disorganized and messy, and yet his music is the epitome of order.