There’s a huge amount of chefs that I find inspiring and have been influential in my career from early days. People like Marco Pierre White and the Roux brothers are amazing, but even now there's some fantastic young chefs that are creative and exciting.

My wife has inspired me probably the most out of my person in my life…Mia Hamm had a huge impact on my life – not just as a player. When I was new to the team I watched how she treated her teammates. I watched how she interacted with fans. I watched how she dealt with sponsors and her off the field business decisions. Mia was the symbol of the impossible.

We had the classics, published by Scribners, all the great stories by Robert Louis Stevenson and the rest which were illustrated by the great N.C. Wyeth. In those days, when childhood diseases were extended, you were home with the measles or mumps or chicken pox for two or three weeks at a time, and you were supposed to stay in bed. There wasn’t any television, there wasn’t much to do, so I would stare at those paintings in those books by the hour. I didn’t read them all. I loved to just look at those pictures and study every detail. I could sit down and draw most of those pictures right now without having to refresh my memory because they were so exciting to me.

It is usually 4 or 5 in the morning so I go downstairs and make tea and then read a bit of poetry – Mary Oliver, Rumi, Hafiz, Seamus Heaney, Yeats, Walt Whitman, Langston Hughes, Pablo Neruda, Rilke are among my favorites…

And now, advice for beginning mystics. Be sober, be intelligent, be educated, rely on the tangible reality as long as you can. Remember that the act of writing is a tiny part of a bigger something. Defend the value of the spiritual experience and if somebody tells you it’s an old fashioned notion, laugh loudly and serenely. Don’t trust priests of the postmodern religion of absolute playfulness.

But it seems to me that I’m somebody who is deeply skeptical and trying to combat this skepticism. So my writing is probably situated somewhere between the poles of skepticism and ecstasy, with my dream being to have more ecstatic poems.

Generally, my hours are during the first part of the day; hardly ever in the evening. The hours nearer noon, the zenith of the day, are good for working.

I never know who I am.

Why ardor? Because, I think, there’s not enough of it in our time. Or, at least in our literature. There’s too much lukewarm irony, too much sophisticated indulgence. The tragic dimension disappears in this intellectual environment. That’s why ardor is to be defended.

So you are always confronted with life, with somebody’s life, not just intellect. You have to respect it; that’s the mystery of being with other people, that you are not with minds, your are with everything—with their sorrows and joys.