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The battle for evolution seems never-ending. And the battle is part of a wider war, a war between rationality and superstition.
I seem to have a natural tendency to want to share my own observations and feelings with other people, and writing seems to be the way I'm best equipped to do that.
I know something about performing. I know that when it seems like the avalanche is about to roll over you, you face into it and keep both arms swimming as hard as you can. You smile and you sell it.
It seems almost inherent in human beings that when you are thriving for a certain level of spirituality, you tend to reject clothes, and the implied need to hide yourself.
There are a lot of good looking men on this planet. It seems like once a week someone will tell me, "I know someone who looks like you" and I don't know what say to them except, "Tell them hi."
I do find stories - or literary fiction - an apt form for analyzing the world. And especially for trying to imagine the other. An agenda, again, that seems more important now than ever.
I'll find something in what I read that snags my imagination in emotional terms; it resonates with me for reasons more complicated than just that it seems like it would make a good story.
To work with Kaz on this kind of project is a fascinating process...He seems to be Dogen himself when offering the translations that we Western collaborators then refine with him.
My books have come many years apart and each one seems to reflect a period of experience. Ending the book is like putting a period on a certain movement. Interior and external - both.
I often wonder if I am suffering from some mental dysfunction because of how weird and baffling my poetry seems to so many people and sometimes to me too.
It seems to be the sense that once you throw guys in prison they're not going to come out. No, they're going to come out and, you know, what kind of beast have you created from that process?
I do not plan my fiction any more than I normally plan woodland walks; I follow the path that seems most promising at any given point, not some itinerary decided before entry.
Sometimes you have to protect the life of the play. It seems like spelling out mysterious, musical details can destroy a play by making the motivations too clear, too simplex.
It seems that every generation needs its public, tweedy, literary personality to sell its consumer electronics. To whatever degree I can live up to the Plimptonian legacy, I am humble and proud.