Vegetarianism as a moral position is no more coherent than saying that you think it morally wrong to eat meat from a spotted cow but not morally wrong to eat meat from a non-spotted cow.
I think that writers often try too hard in the name of expression, when often it's just a matter of reframing what's around you or republishing a preexisting text into a new environment that makes for a successful work.
I think that the richer and deeper documentation is on the web, the better off we all are.
I think that I probably inevitably fetishize nature, although I try not to, because it's kind of embarrassing, repulsive behavior. I think it's just an extension of me being old-fashioned.
I don't think that the world will ever become an unpoliced place, sadly. But I do feel that there is relative freedom on the margins.
I think that the special thing about radio is the off switch. If something's not pleasing you, turn it off.
I am still not taking my "career" in music for granted. It is constantly surprising that it works. Generally my thinking about the future has this assumption of an impending apocalypse.
I think we as human beings need to be able to appreciate each other's differences and I think jazz really takes us in that direction.
I think every culture is passionate about food; some are just passionate about food and the food is shitty.
Many of the left thinkers that really matter to me - that formed a big part of my thinking about politics and art - emphasize how capitalism is a totality, how there's no escape from it, no outside.
I like to think - knowing that it's an enabling fiction - of those moments as fragments from a world to come, a world where price isn't the only measure of value.
I think that sexual pleasure and the weird color of the sky after a storm or the stream of tail lights across the bridge or the way silence can thin or thicken before music starts - all these things have to be harnessed by the political. The libidinal has to be harnessed by the political.
When I was setting out to be an artist, I said: If I can just produce one work that some people think is good, if I can become an obscure cult artist, that's all I want. Well, I attained that. I'm an obscure cult artist, and I think now, Why didn't I say I want to be another Picasso or something? What other options were open to me? But I was convinced I couldn't achieve great things because I don't have a steady-state mind.
We, who think like animals living in small groups, must structure a global world. We believe in universal human rights and believe racism and war are wrong. On the other hand, it is our nature to be cooperative and loving almost exclusively with the members of the group to which we feel we belong.
As soon as I came to L.A., I was told that I was exotic. I'd think, But I'm from Miami! I'm as American as a cheeseburger!
I don't think of myself as fitting into a category. But I had to be careful in all of my books not to repeat things, because I have these ideas, and though the subjects were disparate, the same idea would come up through different portals.
We're physical objects, we think of ourselves as these kind of free-floating brains, but the brain is such a little part. It's way smaller than we like to think. We think we're these important human beings. We're not animals or anything. But what did we come out of? What are we made out of? We're made of the same stuff as out there.
I always think it's far more admirable to confuse people than it is to reassure them.
I'm not necessarily a happy person. I don't think that happiness is always the right response to a situation. I think we've come to a point in time where people are saying, "Oh, you know, loss and change, that's just normal."
I think it's a really good thing to put yourself in a situation where you feel really uncomfortable because I think things can come out of that discomfort.
To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.
I think that cartoons have a lot more power than they're given credit for.
I think it's so important to remember the complexity of things.
I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
I don't think "I'm going to publish this as fiction" but I think "I'm going to tell this story to a friend" and then I start telling the story in my mind as the experience transpires as a way of pretending it's already happened.
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