For you where never my blood sister so no more shall I call you little sister
I wish I was away in IngoFar across the briny sea,Sailing over deepest watersWhere love nor care never trouble me...
I would like people to come into my Dreamworld and then choose to stay.
A novel, in the end, is a container, a shape which you are trying to pour your story into.
As individuals, we are shaped by story from the time of birth; we are formed by what we are told by our parents, our teachers, our intimates.
I didn't choose Russia but Russia chose me. I had been fascinated from an early age by the culture, the language, the literature and the history to the place.
To try to expunge an individual's history is a terrible violation.
I was always influenced by language.
The language has got to be fully alive - I can't bear dull, flaccid writing myself and I don't see why any reader should put up with it.
The poets whom I knew then were all men and all seemed dauntingly sure of themselves - although I am sure that really they were as uncertain as I was.
Writing poetry makes you intensely conscious of how words sound, both aloud and inside the head of the reader. You learn the weight of words and how they sound to the ear.
I have learned so much from working with other poets, travelling and reading with them, spending days discussing poems in progress. There is the sense that we are all, as writers, part of something which is more powerful than any of us.
When you are young you don't always realise how full of doubts everybody is.
Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book.
However, I began to submit poems to British magazines, and some were accepted. It was a great moment to see my first poems published. It felt like entering a tradition.