My friend Robert Bly spent a year in Norway and discovered International Modernism. We had all grown up on English and American Modernism, on Eliot, and on Pound, and... and on the poets who had followed them, and it was... that's frequently called Modernism, but it's very different from what, a kind of expressionist use of metaphor. Georg Trackl, the German [sic] poet, killed himself during the First World War - and wrote sort Blue Rider poems - he... he was a friend of Franz Marc, I believe - and they are kind of surreal. I tend to avoid the word surrealism, because it got taken over by André Breton, and became a set of rules and so on. The greatest practitioners... there were many in... in Scandanavia who were not well known even now in translation, Harry Martinson and Gunnar Ekelöf, but there were many, many in Spain - Lorca from the '30s, but Jiménez, Sulomono [sic].  They were apparently Gongoresque - I have no Spanish - they wrote with extravagant metaphors and mysterious poems, and French symbolism in some ways gave license to it, but it was much less tidy, much less reasonable than French symbolism, or French surrealism.  And, particularly with Bly's help - with his own translations, and his also putting me to look at translations of other poets - I became aware of Neruda, and Neruda was one of those poets who translates well. A poet like Goethe can't translate at all, Pushkin can't translate, but often poets who rely on the expressive image can be more translatable.  And I began to write poems more in this style, and I began to experiment moving away from syllabics, with varieties of free verse, and my poetry in particular took on a... a sound - it was rather short lined, and the sense moved over to the end of the line, a lot - not invariably - but there was a lot of enjambment, and there was great... a great many long vowels, and often the long vowels were in assonance.  So if I could use a line like 'high tide line', I'd love it.  And for many years my... my poems, which were my own and not sounding like anybody else's, were making their own kind of noise because it was a noise that pleased me the most and shivered my timbers.