Even though I always claimed that I didn't want to write about something - once I wasn't writing fiction, anyway; I think for me the change from fiction to poetry was that in fiction I was writing about something, in poetry I was writing something.

Public space can be a lot better with some private space to contradict it and vice versa. It keeps the system alive. If the system is just one thing, then it's closed and it eventually dies.

You could walk around behind the typist and read the text, which was about hearing, and what you heard was the sound of the typewriter. Of course, this was a pre-electric typewriter, a typewriter that made noise.

I always thought, I can't waste time, I have to do work. I also thought that I was slower than other people, that I had to concentrate more. I always thought, I'm not brilliant, I have to work. That was something I embedded in myself very early: I have to go home and write. But did I get any more work done than people like Frank O'Hara, who were always going to parties? Probably not.

I like intersections. They're the nature of New York, and there's always the possibility that when you're at one you can meet someone new. Have I ever met anyone new at an intersection? No, but I like the idea of it. I like cities because if you're stopping on the corner to wait for a light to change, there's the possibility that you and somebody else can talk. And if you and that somebody else start to talk, then you can start to argue, and if you start to argue, you might start a revolution.

Maybe I had to stop photographing so that I could learn to touch.

The kind of influence you want is a much deeper influence. It's like empowerment. Things are like this, but what if they were like that? What happens if you turn everything inside out? It's something that not just artists do. I think scientists do that, too. There's a theory: What if we pour water on it? That's also what a child does. If a child came in now, the child would ignore us, go under the table, and make a house.