1977 was also, of course, the year that Derek Jarman made his iconoclastic film Jubilee, which was so much part of the punk movement.

To me the seventies represent normality, and, of course, it is a normality that is now anachronistic.

The urban, on the other hand, is often seen as more real and mundane, even though it is obviously far more recent in terms of planetary development. I think this might be because nature corresponds to the unconscious and the artificial world of the city and human culture to the conscious mind.

I seem to be less depressed but also less hopeful now in my thirties. My widow's peak bothers me. I think a lot about the end of the human race. And so on.

[Someone] said that what I described as the Buddhist voice - the life-denying voice of censure and guilt - sounded to him very much like a Catholic voice. This is, indeed, a mystery, and it intrigues me, too.

This is part of the fundamental character of Buddhism that I find problematic - that it is not interested in anything. Hence the 'Fascination' in the title of the essay, the fascination of art and creativity, stands in opposition to what is called 'Liberation'.

Some people have described Daoism as pantheist, and although there's something in me that resists this designation, I can see that Daoism is consistent with pantheism. If there is any way in which pantheism makes sense and is not redundant, then it is the way (or 'the Way') presented in Daoism.