Eventually, to get through school, I would make good meaningless blobs if I had to. And so they thought I was falling in with them and stuff like that. But on the playground, kids would come up to me and say, "I need three Supermans and a Captain Midnight by four o'clock because I'm going to sell them to somebody else." So I'd take all their lunch money and whip these things out, and they'd have to stick them in their underwear to get the pictures home, because if the teacher ever found out about that.

Any sort of working drawings are simply diagrams. Architecture encourages your imagination to work that way.

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.

[Buckminster Fuller] could do four, five hours straight where some people would leave, eat, get a snooze and come back and he's still going. He was like a fireplug.

I think [H.P. Lovecraft] recognized what he was dealing with, he was dealing with demons. And he was dealing with creatures that're suffering. There's no way out of this suffering.

I said, "Well, why do you believe in the Klein Bottle?" He said, "Because I can imagine it." I said, "You don't have to imagine a Mobius strip. It's right there in front of you!" But [Buckminster Fuller] couldn't see how that could involve a cross cap, meaning something that couldn't be reduced to a two-dimensional surface. Which it does. It's because he was thinking that the matrix was the thing that a fly could walk over the edge of, like a torus.

The whole theory of what Satan is, it's Lucifer, the highest of the seraphim, the bearer of God's light, who at a certain point comes to believe he is what is being revealed to him.