I don't believe in sexual love.

I understand that words can mean different things to different people, and, further, that people can have different relationships with complex abstract entities such as Buddhism. To me, anyway, the entity in my life that conflicts with my creativity is Buddhism.

I feel like the seventies was a decade where things ran out, and where other things set in. There was just a lurking graininess and seediness about the decade, a slight grogginess of the hangover from the sixties.

Western progress (from one damned thing to another) seems to be essentially the MO of nowhere fast. But, on the other hand, the don't-set-foot-outside-your-own-village/cave ideal or injunction that you find in Buddhism and even in the Daoism of which I'm fonder, seems . . . defeatist. And more than that, it is in contradiction to what nature actually does. Somewhere, somehow, I feel as if these two opposing principles have to be reconciled.

As children in the seventies we were told about nebulous 'strangers'. By definition, we didn't know who these strangers were, and we didn't know what they wanted to do, but only that they were sinister. I think that was the stage the seventies were at.

This strong sense of who I am that I've always had, since I was very young, is what makes me write.

If you look at the ox-herding pictures - specifically the newer set of ten pictures rather than the older set of eight - you see that after the blank circle of the void, the cycle comes back to a river flowing by the roots of a tree (both strong symbols of nature, the life-force, the unconscious) and to the wanderer returning to the market place, which is the realm of human society and activity.