Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.

The task we face is reorganizing the systems we depend on for daily life in a way that is consistent with the realities coming down at us.

I was not a hard-liner against nuclear, because I viewed that as perhaps the only way we might keep the lights on another 25 years. But lately I am on board with Nicole Foss's argument that we will not have the capital or even the social cohesion to build anymore nuke plants.

We have to do commerce differently because the WalMart system of big box chain retail will soon die. This means rebuilding local main street economies (networks of local economic interdependency).

We have to make some things for ourselves because the conveyer belt from China is doomed (this process is known as import replacement). We have to do transportation differently, because mass motoring and even commercial aviation will soon be over. We have to inhabit the landscape differently because both suburbia and the metroplex mega-city will be obsolete, so we will have to return to a more traditional disposition of things in smaller urbanisms associated with productive agricultural hinterlands.

I am far less interested in serving as a change agent than in functioning as a prose artist, whether it's fiction or nonfiction.

The ideas of [ Le Corbusier ] that actually found their way into practice were deeply destructive - for instance, the tower-in-a-park, which mutated into the vertical slums of the late 20th century.