I wouldn't say that translation affected my writing. I'd rather say that certain writings appeared to me as a significant broadening of the horizon of the poetic fact, and that because they represented openings, I wanted to translated them. Sometimes I get profoundly bored by the uniformity of certain poetic canons, especially contemporary ones. Every now and then I have felt that, against this huge ensemble of monotonies, a poet breaks with canonical presuppositions. When these poets are producing or have produced their work in Spanish, I try to publish some of it in my chap book press, Ediciones Pen Press. When they are developing or have developed their work in a different language, I either translate some of it or have it translated. In my view, translation is not so much a way of disseminating the work of a poet I admire as a way of calling attention to my peers, the Spanish-speaking poets: "Check this out; this can be done. We hadn't thought about it; look how beautiful it is." I'm not encouraging them to copy it, because then we would be lapsing once again into epigonism. Rather, the goal is that we may think of other approaches – other ways to address the poem, the creative act in general.
¿La traducción de poesía afectó su escritura? ¿En qué sentido?