I am obsessed by the idea of silence. I went through an entire library studying art, artists and their critics, philosophers, too, on the meaning and significance of the color white. I dreamed of white birds and white bears. I thought about the white pages of my mother's journals. I became enthralled with John Cage and his work, 4'33”, his masterpiece of ambient sound. Rauschenberg, too. And then at some point I let go. What sticks to the soul is what gets placed on the page. Maybe that's the unknown part, the mystery, the power of the empty page.

When Emily Dickinson writes, “Hope is the thing with feathers that perches in the soul,” she reminds us, as the birds do, of the liberation and pragmatism of belief.

I can only tell where I feel most at home, which is in the erosional landscape of the red rock desert of southern Utah, where the Colorado River cuts through sandstone and the geologic history of the Earth is exposed: our home in Castle Valley.

Every time we make love to a human being, fully, we are making love to everything that lives and breathes. In that sense it becomes communion. It is a sacrament.

We're animals, I think we forget that. I think there is an ancient archetypal memory that still exists within us. If we deny that, what is the cost? So I do think it's what binds us as human beings.

What is evolution if not creative adaptation and the progression of our own souls?

And so we polish our own lives, creating landscapes and canyons and peaks with the very silt we try to avoid, the dirt we disavow or hide or deny. It is the dirt of our lives—the depressions, the losses, the inequities, the failing grades in trigonometry, the e-mails sent in fear or hate or haste, the ways in which we encounter people different from us—that shape us, polish us to a heady sheen, make us in fact more beautiful, more elemental, more artful and lasting.