A lot of things appearing under my byline were written in one draft. But when I started to write poetry, I started getting fussy about every syllable. I wouldn't allow the work to be seen unless it felt perfect. Not clunky at all, no clunky syllables. So, really, for the printed page, it had to have a feeling of rhythmic and syntactic verisimilitude or something.

I didn't mind writing incoherently, up until about 1980, occasionally. But after that, I decided, might as well be articulate. And I found, though, that writing poetry affected my prose to the point where I never again wrote in one draft, and my prose just took longer and longer and longer. It took longer and longer to come up with an acceptable text. And that's probably one of the reasons that my output has slowed down.

My issues with it are that simply in terms of my own work. It represents 30 years of output. And some of the things, some of the pieces I've used there, when I first wrote them, they seemed probably very menacing, and I hear them now, and they're just kind of pleasant, if that's the word.

One of the things about me is that I actually had marginally middle-class living from writing. For years and years, I actually wrote so much through the '70s and '80s that I made a living. And very rarely have I had to take another job. And now it's impossible for anybody coming up to make such a living. They've pissed in the temple, you know?

No matter what, I'm never going to get an anthology from an actual publisher, though I could always score another music anthology. But if this is going to be a document of a multiplicity of my writings, it'll do. It feels like a birthday party or something.

I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.

If I looked at some of these pieces as if this project was not spoken-word but just short anthology, I probably would have fussed with some of the sentences, you know? Syllabication and prosody and such crap. Because the printed word is etched in stone. But for reading purposes I accepted this book of texts in the manner in which I wrote them, no need to fuss. Most of the shorter stuff was written as poetry. Meaning lots of white space on the page.