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.

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'm curious about other universes, and nonhuman elementals. For me it's still a very lively ethos. It's a kind of practice. It's an ethos that is very sustaining.

Personally there is first: imagination; second: the act of writing - and third: the act/act of vocalizing.

Obviously, if I'm reading in Vienna or Venezuela or Italy, there's the issue of language, and I will make choices that are more sound oriented. Or I'll try to incorporate those languages and occasions somehow.

If you can integrate your life to have a kind of meditative practice that is considering others.

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.