Then there is the further question of what is the relationship of thinking to reality. As careful attention shows thought itself is in an actual process of movement.

There is no relationship between the gestures and what an orchestra will do.

The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.

You know it's possible for two humans to be in a relationship without there needing to be some public reason for that relationship.

There is no substitute for the comfort supplied by the utterly taken-for-granted relationship.

I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it.

I feel there's a power in theatre but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them remember them a day later or not have any idea what they are about.

There's such an extreme feeling to be in love especially in quite an emotionally destructive relationship where you're both kind of really bad for each other but you love each other so much. Those extreme emotions I think can only be described with extreme imagery.

With public figures involved in a relationship it seems that there is a machine behind their love so oftentimes.

I'm always open to a relationship but I'm not putting those feelers out there now.