“What happens at the beginning of your poem has to—because it’s a poem—be transformed by the end of your poem. So if the triggering moment for the beginning of your poem is a known political moment, I am fine with that, that’s great. But as I’m reading, I expect it to change because that was just the trigger…”

Paris Review Interview (1998)

Variant: And your very flesh shall be a great poem.
Source: Leaves of Grass

Paris Review interview (1996)
Context: In the long poem, if there is a single governing image at the center, then anything can fit around it, meanwhile allowing for a lot of fragmentation and discontinuity on the periphery. Short poems, for me, are coherences, single instances on the periphery of a nonspecified center. I revise short poems sometimes for years, whereas, since there is no getting lost in the long poem, I engage whatever comes up in the moment and link it with its moment.

Source: Nine Gates: Entering the Mind of Poetry

"On Being a Poet"
Swerve (1993)

Source: The Waves

Spike Milligan with Jeremy Taylor Live at Cambridge University. Recorded at Cambridge University on December 2, 1973, this was previously released as a double LP, and later re-issued as a 2 CD set. Milligan used variations on the Shakespear line throughout his later life.

"Answers to Questions," from Mid-Century American Poets, edited by John Ciardi, 1950 [p. 170]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)