"I always had this feeling — I’ve heard other Jews say — that when you can’t find any other explanation for Jews, you say, “Well, they are poets.” There are a great many similarities. This is a theme running all through my stuff from the very beginning. The poet is in exile whether he is or he is not. Because of what everybody knows about society’s idea of the artist as a peripheral character and a potential bum. Or troublemaker. Well, the Jews began their career of troublemaking by inventing the God whom Wallace Stevens considers the ultimate poetic idea. And so I always thought of myself as being both in and out of society at the same time. Like the way most artists probably feel in order to survive — you have to at least pretend that you are “seriously” in the world. Or actually perform in it while you know that in your own soul you are not in it at all. You are outside observing it."

“The public has an unusual relationship to the poet: It doesn't even know that he is there.”

“Words like “spokesman” and “touchstone” took me completely by surprise. For very real reasons. Not only had I been out of the country when my first two books were published, but I have always been “out of the country” in the sense that I never had what ordinarily is thought of as a literary life, or been part of a literary group. What psychiatrists nowadays call a support system. I never had any of that and still don’t.”

“Whitman to me is the most fascinating of American poets. Whitman started to write the great poetry from scratch after he had written all that junk for newspapers, the sentimental lyrical poems. All of a sudden he wrote Leaves of Grass. When I was teaching at the University of Nebraska, my friend James Miller was chairman of the English Department. He wrote the first book attempting to make a parallel between the structure of Leaves of Grass and the steps of the mystical experience as in St. John of the Cross. I was completely bowled over by this, not having been able to explain how Whitman came to write “Song of Myself,” which is unlike anything not only in American literature, but unique in all the world. The parallels to it are mystical literature. Miller tried to show that there was actual evidence for this kind of experience, which evidently happens at a particular moment in someone’s life. … When I saw the negative reaction to Whitman with the great ruling critics of the time, I couldn’t believe it. Eliot never really gave up hammering away on Whitman, neither did Pound. Although Pound makes little concessions. Whitman, you know, didn’t have any influence in this country until Allen Ginsberg came along.”

“Influence is strange. Because one can be influenced powerfully in every way but technique. For instance, I would think Walt Whitman probably had more influence on my whole poetic thinking than anybody, but I never dreamed of trying to write in the Whitman manner.”

“I feel that after working a long time, I’ve really learned how to do what I do. I enjoy it. I don’t think there’s anything more satisfying than turning out a good stanza or a good piece of prose. And when you’re satisfied enough, you want to show it to other people. That’s called publication.”

“I had never met a poet in my life before winning the Pulitzer in 1945. Well, that’s not strictly true; when I went to Johns Hopkins in 1939, W. H. Auden gave a private reading to a group of special literature students, and I was one. I shook hands with him. As it happened, at that time he was my idol, above all others as a modern poet, and that experience was a very sustaining one. But I could hardly say I “knew” him.”