The books that I do, the stories I write - I'm glad I'm able to do them, but they will quickly be swallowed up by the sands of time. Sometimes it frustrates me that I'm not able to do bigger, more important, more significant things. I guess you have to be content to do whatever it is you can do.

Real shapes and real patterns are things you would observe in nature, like the marks on the back of a cobra's hood or the markings on a fish or a lizard. Imaginary shapes are just that, symbols that come to a person in dreams or reveries and are charged with meaning.

When I was a kid, I used to see apparitions and have hallucinations, and my entire perception of the world was badly disoriented. And I had kind of a chaotic childhood because of that. I've really hung onto it, though. Because I actually like those feelings.

It takes more drawing to tell a story in pantomime.

One of the best memories of my life is contemplating that first finished drawing and realizing I had cracked the code, that I could make drawings like this whenever I wanted.

I could never write about the sort of people John Cheever or John Updike or even Margaret Atwood write about. I don't mean I couldn't write as well as they do, which of course I couldn't; they're great writers, and I'm no writer at all. But I couldn't even write badly about normal, neurotic people. I don't know that world from the inside. That's just not my orientation.

That Moorish architecture is all over the place, of course. It affects me everywhere I see it, as it does so many people. But Brand Library was a special place to me, and I know I've paid homage to it many times in my drawings.