My way of thinking is very particular and concrete. It doesn't follow a continuous path.

There are editing procedures for talks just as there are editing procedures in jazz improvisation.

I tended to emphasize the secular, the casual, the colloquial, the vernacular against the sacred.

Stories are different every time you tell them - they allow so many possible narratives.

It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.

Children frequently sing meaningful phrases to themselves over and over again before they learn to make a distinction between singing and saying.

When you grow up in a family of languages, you develop a kind of casual fluency, so that languages, though differently colored, all seem transparent to experience.