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Being a critic is a terrific method for killing your love of art.
Like a fly bouncing uselessly off a closed window, I'm caught at a moment when the effort of finding new ways to perceive the world feels just out of reach for me.
Sometimes I'd like everybody who is stuck, or lost, or vacant to stay that way and keep silent for as long as it takes, but that's the critic in me talking.
I needed a huge amount of energy to cope with my life. I had a huge amount of energy where stuff was concerned: it was as if all this unconscious material had been unleashed.
One of the nicest things is that I still get, very ambiguously, people saying to me, "Oh, I'm just reading your book." And I say, "Which one, for God's sake, I've done six now!" "Oceans of Sound".
I think I was like [a game of] skittles, knocked apart by this wooden ball, and there's a strength to that: you're not too self-conscious about what you're doing, so you're not too worried about it.
I don't mean I give the same intensity to everything I do - if I did that, I'd be dead, but I'm very conscious, I make notes, and I have a fairly good idea of what's happening in my life.
Paul [ Burwell] and I had also got interested in making books. We'd been working with Bob Cobbing, the sound poet, since the beginning of the 70s, and Bob had this press called Writers Forum.
People don't have to put you in a box. You can have the confidence to move across, and combine and learn from each different practice. They inform each other.