[The Theosophical Society] are ideologues in terms of the way they present the material. That's one of the reasons why, when they teach their courses, you only get a smidgen of stuff and you have to keep coming back every week. They won't do an overview. Because they're trying to bypass your conscious critical faculties by leaking the information slowly.

I started modeling myself on [ Buckminster Fuller], like with the hair. I reached an age where I sort of, kind of, looked like him a little bit, you know? I thought it was great.

I always had a sense of liking diagrams, from the time I was studying architecture. Architecture is built diagrams, basically.

When I was in New York working for [Frederick] Kiesler, at night I listened to Jean Shephard who lasted from 1957 until 1976 and then went off the air. But also I was listening to Long John Nebel. Now, Long John was what Art Bell and George Noory do now.

I met a guy who had the same theory and wrote a book about it. His name is Walter C. Wright Jr. His book is called Gravity Is a Push. I wrote to him and told him about my father, and he said he wished he'd met him. My father died quite a while ago.

I started with "Pickman's Model," because it was about Boston. I mean, what I loved about [H. P. Lovecraft], at first is his sense of scholarship of an area, setting an environment, enlivening it. I think that's one of the secrets of writing.

I was always doing paintings. I actually started painting with oil paints when I was four years old. Not crayons, not pencils and that kid of stuff. I'd paint birds. Anything that moved, stuff like that.