Silent people can be misleading, suggesting profundity and thoughtfulness where there may be none.
Lonzi said the only thing worth loving was what was to come, and since what was to come was unforeseeable---only a cretin or a liar would try to predict the future---the future had to be lived now, in the now, as intensity.
My older brother, Jake, and I had a bohemian childhood. My parents are deeply unconventional people from the beatnik generation. They weren't married, and I thought that was normal. We called them by their first names.
I am just getting into Zora Neale Hurston, who is possibly a much better writer than the critics and rivals who tried to erase her from history, resulting in a life in which she worked as a maid and died in a welfare nursing home. She's clever. She does something modern to the sentence.
Art breathes into life a surplus that is both vital and extraordinary.
For me, art is not 'brooding.' It comes from someplace that is more fun and that has a kind of electricity to it.
I think the art world heightens the intensity of desires for inclusion, and the humiliations of exclusion, which is why it's a great place to circulate when you are in the lucky position, as I am, of not wanting or needing anything from anyone.
Some writers think that fiction is the space of great neutrality where all humans share the same concerns, and we are all alike. I don't think so. I'm interested in class warfare because I think it's real.
I'm hesitant to ever take on the crest of the veteran. So I don't know who I am to warn the younger writer about the perils to come. I think maybe the most dangerous influence is to think you have all the answers and should be giving counsel.
I suppose I am interested in women plus anonymity plus disappearance.
Art is like a stock with a decent return for people in finance, and they get to feel like they are involved with culture, spend time with artists, as part of their dividend.
I love the novels of Didion and Bret Ellis and consider them L.A. writers because they write about L.A.
I was really inspired by these larger-than-life female artists like Lee Bontecou and Eva Hesse and Yvonne Rainier and the incredible Lynda Benglis. There were many women who were really driven and became successful, who were part of essential paradigm shifts, despite the fact that the art world was still dominated by men.
At home, I dedicate occasional whole days to reading as if I'm a convalescent. The ideal place for this is the bath, where the body floats free. Books go a little wavy, but they're mine, so who cares.
The late Seventies was the death of the manufacturing age in the United States. It was also a time when the Pictures Generation artists were getting started. They co-opted the language of advertising. The factory disappeared, and weirdly, so did the art object - it was the age of making gestures, not objects.
I don't write listening to music, and in a way it seems silly that any writer should have to explain why not, as it's possibly no different from saying you don't eat gourmet dinners or play tennis while you're at the keyboard.
I don't have any outside view of myself, and if I did, I would probably be creatively inhibited. I just write in the way that I write.
I like to read novels where the author seems knowledgeable, like someone you know you could walk calmly next to through a complicated situation, and he or she would be alive to its meaning and ironies. And you wouldn't even have to mention them out loud to each other.
I'm very interested in the idea of a large group of people who come together quite suddenly, but not illogically, for reasons that could not have been anticipated.
I am not fond of lengthy descriptions of phony artworks.