From this entertainment industry, may the gods of language protect us.
My way of thinking is very particular and concrete. It doesn’t follow a continuous path.
My mother turned into a professional widow. She couldnt understand why I wanted to be an engineer; she thought I should be a chicken farmer.
There are editing procedures for talks just as there are editing procedures in jazz improvisation.
You pay your money, you take your choice. I get the audience my language attracts and I lose the ones it repels.
I wanted to be an inventor, whatever I thought that meant then. I guess I was thinking of Edison or maybe James Watt. Or maybe even Newton.
When you grow up in a family of languages, you develop a kind of casual fluency, so that languages, though differently colored, all seem transparent to experience.
I’m aware of my audience in a way, and I do try to engage with them while I’m trying to go about my business of thinking. I believe they help me by providing a focus.
I have spoken to expert audiences occasionally, but then no audience is expert over the whole range of things I want to explore.
I hardly remember how I started to write poetry. It’s hard to imagine what I thought poetry could do.
I didn’t think about whether I was writing poems. I was thinking. And the more I was thinking, the more there was I didn’t understand.
I was very committed to the process of composing, working at poems, putting things together and taking them apart like some kind of experimental filmmaker.
Disney made a fortune out of inventing the businessman’s idea of the imaginary as the contradictory of the businessman’s idea of the real.