What I look for in poems are distinguished by their sonic and semantic flexibility and range. They take on important subjects—racism, domestic, political and natural disasters, mortality and time, the contingencies of love, the vulnerabilities of flesh ("the soft parts of us...the first thing we give away,")—in language that feels both improvised and exquisitely controlled, highly cadenced even when it looks like prose. Their tone is nothing if not companionable, good humored, fiercely clear sighted, full of passion and heart wrenching wisdom. From poem to poem, and even sometimes within the same poem, they shift from mode to mode, descriptively precise and essayistic, realistic and surreal, conversational and song-like. Simplicity of means, complexity of effect–that's how I'd characterize the marvelous achievement of poems in every piece.