I'm not a visionary, but I've spent half my life drawing things Imagined, Remembered, and Observed, comparing the differences between them, and my study confirms that "the difference between night and day / is not as great as people say."

I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.

For decades I'd flit from drawing table to typewriter to guitar with no sense of strain or contradiction. They all exercised the same psychic muscle (the Imagination), and working in one medium refreshed my appetite for the others.

My ignorance would require a volume to itself. Between its covers would be preserved a record of the spurious model of all creation I had in my head, a prelapsarian construct, uncorrupted by the facts.

The goal of all my work is essentially the same: demonstrating that magic is real or that reality is magic, by paying attention, and finding compensation or consolation for what is essentially a tragic existence.

Songs came first. I started out in 1965 trying to copy the Beatles, Bob Dylan, and the Stones, like most kids I knew. I'm still trying. Songs are hard to beat.

I'm not a visionary, but I've spent half my life drawing things Imagined, Remembered, and Observed, comparing the differences between them, and my study confirms that "the difference between night and day / is not as great as people say."