The music is notated first, the text follows. I might have to wait until the right kind of text or form arises. I often see the poems as “scores.”

When I got back to NY had the opportunity to work with the beginning years of the poetry project which was founded with money from the OEO under Lyndon Johnson to work with alienated youth on the lower East side. This was extraordinary, to be able to help then to create a culture that would capture the energy that I felt at Berkley.

How can you work on letting your thoughts go and getting synchronized into the moment and questioning your wild imagination. But I say just think of all the great Japanese and Chinese poets and scholars who were also meditators.

We humans need to do better with our vast minds and alchemical powers. Future radial poetries might be more symbiotic with the rest of consciousness.

A lot of my life has involved with helping create cultures that have as their basis this vision of the sharing, the partaking of a certain ethos together.

To conjure a particular knowledge you visualize an architectural structure and then you walk around and see the details that then bring back the words or the poetry or the lines of thought. Memory's going extinct because we rely on machines and copies and so on. The idea of working with structures that conjure dreams, personages, history, time, that can be contained in this way as you walk through your mind, is a challenge.

Various random experiments, cut-ups, fold-ins, juxtapositions, timed writings of other kinds, the "objects assignment" which involves dream, adventure, ancestry. Writing outside, writing on moving vehicles. Looking at paintings in the grand museums of the world in a proscribed way.Little strategies to keep the lalita - play or dance - going. Sometimes it's lonely you know, just you and your own imagination.