The way something looks or sounds is also what it means. Words as visual and aural phenomena, which mainly poets, not critics and prose writers, tend to be obsessed with. I think maybe I'm more of a curator than I am a writer in the strict sense because I am interested in how everything on the page, in a space, works together.

Not only is true love rare and true rebellion rare, real love is itself a radical form of rebellion - engagement, thinking, and being - and therefore happens in the context of a larger project of justice, liberation, and critical thinking.

Love has been the ontological pattern for me. And also the withholding pattern. I am still on hold with regards to love. And the longer one is on hold, in suspense, on a search, the harder, paradoxically, it is to continue with a search.

At any moment I could give up, but I haven't because love for me is an indispensable structure for being.

For me, the eye and the word go together. Even when I was working in word documents, I was always obsessed with fonts, size, margins - the look of words on a page. The way something looks or sounds is also what it means.

Love is an active construction, and choice, not just an encounter that happens by chance.

The digital age is for me in many ways about temporal wounding. It's really messed up our ontological clocks.