When I work I have a sculptor’s sense of the shape of the words I’m making. I use a machine with larger than average letters: the bigger the better.
The power of the dead is that we think they see us all the time. The dead have a presence. Is there a level of energy composed solely of the dead? They are also in the ground, of course, asleep and crumbling. Perhaps we are what they dream.
Explain me to myself, you’ll make me choke on my lunch. Feel sympathy for me, I’ll puke monkey blood on your understated shoes.
Off-camera lives are unverifiable.
Technology and violence are interdependent.
The term itself – my life – is a desperate overstatement.
The greater the scientific advance, the more primitive the fear.
A Catholic is raised with the idea that he will die any minute now and if he doesn’t live his life in a certain way, this death is an introduction to an eternity of pain.
The future belongs to crowds.
I watch movies occasionally, and I watch documentaries. Virtually nothing else.
American writers ought to stand and live in the margins, and be more dangerous.
Never underestimate the power of the State to act out its own massive fantasies.
What good is knowledge if it just floats in the air? It goes from computer to computer. It changes and grows every second of every day. But nobody actually knows anything.
The more things I threw away, the more I found.
You have to break through the structure of your own stonework habit just to make yourself listen.
He wanted paper and something to write with, some way to sustain a thought, to place it in the world.
The world isn’t going to be destroyed, but you don’t feel safe anymore in your plane or train or office or auditorium.
Facts are lonely things.
Before pop art, there was such a thing as bad taste. Now there’s kitsch, schlock, camp, and porn.
Terror is now the world narrative, unquestionably. When those two buildings were struck, and when they collapsed, it was, in effect, an extraordinary blow to consciousness, and it changed everything.