I'm increasingly on the side of thinkers like David Graeber who are talking back to this notion of totality and emphasizing how there are all kinds of moments in our daily lives that break - or at least could break - from the logic of profit and the modes of domination it entails. Zones of freedom, even if it's never pure.

I don't want to write poems that are just really clear about how I'm aware of all the traps involved in writing poetry; I don't want to write fiction that's about the irresponsibility of writing fiction and I've thrown out a lot of writing that I think was ultimately tainted by that kind of self-awareness.

I didn't want to write another book about fraudulence.

The scare quotes burn off like fog.

I've been building a fiction in part around the Marfa poem since my brief residency there, which has kept it from receding into the past.

Just in case God isn't dead, our astronauts carry sidearms.

I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.