I don't think that brutality and idealism are mutually exclusive. It's a common denominator in my work - rabid idealism.

I'm truly an outsider in the poetry world. When I started writing, I was trying to move my poems away from modernist lines.

I think not in two or three dimensional terms but in five dimensional terms when I consider a novel. There's height, width, and depth, there's the time factor, and then there's the factor which I call the cerebral factor of the reader, the way the reader adjusts to all the other dimensions, which is the fifth dimension.

I don't think that brutality and idealism are mutually exclusive. It's a common denominator in my work - rabid idealism.

My books are not about different components that fit together like pieces in a jigsaw puzzle, it's about creating the space around the components, which is almost as important as the components themselves. And that space changes and blends depending upon what the components are.

I think of myself as a jazz player, and my music as a natural extension of the jazz tradition. What I'm doing is completely free improvisation ('composing in real time') with nothing predetermined. I've had a lot of experience playing many different kinds of music and several different instruments, and since I tend not to waste anything, it all shows up somewhere in the music I'm playing now.

I'm a centrist. There is a lot going on socially that I don't like, but I feel that in a democracy you work from the center, not because I like the center - I'm a marginalized person politically - but because the center is where things get done.