The "biggest" poems I ever made are based on the psychological principal of the "Johari Window:" what the self freely shares with others; what the self hides from others; what others hide from the self; and what is unknown to the self and others.
I am interested in the confines of the page and busting through/off the page as well. A writer must let go of the line when writing prose poems, which brings its own pleasures.
I began to think about the extent to which nude and semi-nude female bodies are commonplace in our present day culture and how young girls might be affected. I wondered if, at some point, this bombardment of images could possibly get boring and that concealing - rather than revealing - would awaken sexual desire. I don't think that will ever be the case, of course, but I was intrigued to write a poem in which dressing was just as erotic as undressing.
Visual media is the dominant art form in our present day culture, whereas poetry is, at best, a proxy. Yet poetry and film are both "dream factories."
In almost every book I've written, there is a reference to a movie - legendary films, actors and actresses, and forgotten made-for-TV movies. The leaps poems make are not unlike the cuts in a film. The miniature and avant-garde prose poets have perhaps the most obvious ties to film, as a prose poem in its shape is not unlike a movie screen.
In addition to writing in received forms, I have also had fun making up forms - Möbius strips and visual poems, particularly.
