I'd like to invoke the Native American Navajo because their word for road is used as a verb. Their whole relationship to road has to do with how you travel it, who you are traveling it with, what the environment might be, where you're headed, in what direction, the weather and so on.

I like the idea of the object, the relic. And I see it as a time machine too or a device you plug into a socket that activates a sound and light show.

I don't think it is as a trope or as something in our psyches. There's very little wilderness out there but there is wild mind, and the Wild mind that actually, as Gary Snyder says, wants to take care of things. There's an elegant quality to the wild mind.

The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.

You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.

As a younger person you can come in through many, many gateways. It's like some huge Mandela. You can enter into this and get refreshed.

I think for me in terms of this kind of dichotomy you have to hold the sense of negative capability in your mind - which is Keats line about being able to hold two different ideas 'without any irritable reach after fact or reason.'