But nothing lasts forever and that's not how you lay the bricks of a building with a strong foundation.

Possible dementia.

I’ve been very fortunate in that respect. In the early days I liked to be the bomb of the expedition, and rush on ahead and do things faster than anybody else. Those days merged very pleasantly into periods when I organized and inspired expeditions and selected these younger people who were then the bombs of the operation. And then it drifted into this involvement with the people of the area, still loving the mountains, but finding the people just as important too. And on and on it’s gone. As I get older and less physically capable, I find other challenges have grown up and become just as important to me.

That I didn’t appreciate the smaller joys in life.

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.

This is a French expression, silence radio, which is used in the navy, for example—when you cannot use the radio because the enemy is near. It’s not an expression I use regularly; I used it once, maybe, to describe my period of inner silence, which mostly happens when I’m back home, coming from Houston. The long weeks or months of silence. So it’s the opposite of inspiration; it’s the time of doing other things. Waiting.

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.

This is not an easy question—there are many poets who are my masters. Sometimes I find a poet whose one poem speaks to me with a great force, for instance Giorgios Seferis with his “The King of Asine”, a poem that sheds light on the spiritual situation of contemporary Greek (maybe not only Greek) poetry. ... Yeats with many poems, among them the incredible “Sailing to Byzantium”; a strange poem in the sense that it’s hard to believe Yeats would find in the real Byzantium these miracles of intellect he was longing for. Montale with many poems, with his constant looking for an instant of revelation and enjoying all the impediments, all the obstacles on this road. Mandel'štam who was able to blend a tragic vision of life with a strong sense of humor and a wonderful concreteness of images.

Yes, because I worship the summer, which doesn’t exactly encourage me to work, but I tell myself that life isn’t all about working. For me, summer is a time to enjoy the world, and I want to see as much of it as possible.

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.