I really don't see any influence of my work on any artists. But I do think I've had an influence on drawings' being shown. I've had an influence on the economics of it.
I think that in some ways there is no more important thing in my life outside of family and God.
The Black church is extremely important in Black America. I think most Americans themselves believe in a divine power, in a god, and I'm sure that that number increases with Black people.
I think that Hollywood is content with condescending to Black people, patronizing them, feeling sorry for us, and I think we're happy to take the pat on the head as a people and take whatever awards.
The truth is more important to me than anything - my personal wealth or health or any of these things. I think that it's not so difficult for me to say what I'm saying.
If you directly try to write about an idea, it will never be what you imagined. But if you're imagining through the building of sentences, through the characters, and paying attention to avoid ease and comfort yet still thinking about making the sentences work, you will get a shot at some real interesting stuff.
For me writing is an organic process that starts with engaging the language and then thinking about the structure of the novel as you move along. Especially in revision you start to notice correlations. Things come up, not self-consciously, because you're busy feeling your way through sentences and trying to push the language into new places.
I think there's a lot to be learned from pop culture. But at the same time I see the dangers of using it in an exclusive way to construct meaning in your life.
Although I use myself in my videos, I really see myself as a character. When I look at myself, when I sit and edit, I never think, "That's me." I think, "This is a character, and how do I edit this to tell a story?"
As people who make things, we have the ability to think of the most vile, awful things we can imagine, but it doesn't mean we believe those things. I allow myself to go places in my videos that I would never go in my real life.And I think that there has to be that place where you can create and not have to be living it in real life.
As individuals, I just think that our biggest responsibility is to be self-aware, and some of us are not.
As much as we think we are as artists, we think, oh, you know, we're going to do this, we're going to do that, and really at the end of the day it's the fans that make that determination. Because if they don't buy it, stream it, share it or talk about it, then you're just a crazy person with an idea.
I think minimalism is something I just got attracted to just in general because I like the empty space, if you think about it, like there's a lot of empty space. So there are sounds there, there are chords, like coordinates, to sort of tell you where the emotion is going, but then it leaves so much room for the voice to do other things.
I think we, especially in American culture, are so afraid to talk about death. And I'm not talking about literal death. I'm talking about shedding skin. I'm talking about rebirth, ultimately, and how we continue to change as human beings and continue to grow. There's that great Henry Miller quote, "All growth is a leap in the dark."
I think it's become such a part of younger people's daily life to have the instant access to each other that it sometimes gets a little presumptuous. People feel like it's OK, for example, to email you with some weird personal criticism they have.
I always think the novelist should go to the culture's dark places and poke around. Pose a lot of hard questions.
When you start a game, you don't think to yourself, "well, OK, I'm going throw a one-hitter today." It just becomes an organism, your outing becomes an organism and it grows.
I think what motivated me was just hope. Something inside of me, deep down in my guts, always felt like there was something in there.
You never go into a season thinking you're going to strike out 200 guys or that you would have the most double-digit strikeout games in the big leagues, or anything like that. You just try to win, and the outing becomes what the outing becomes.
I always thought of writing as public, I never thought of writing a diary. I had been struck by, jolted by things I had read, and I wanted to do the same to others. I don't think it ever was the notion of an autobiography; I skipped that phase totally, I think.
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.
I think the optimal artwork is in constant circulation with the world around itself.
The Stonehenge proposal got a lot of interesting criticism. One of the best - or worst - said something like, "Go home to Las Vegas." I think this project could possibly be realized at a very late part of my career. Right now, I don't have the authority, the budget, the credibility.
Of course I can have a simple reaction of sympathy and sorrow to destruction. But you also know that you can't have new things if you don't occasionally destroy the old. That's something you're really not allowed to say because things are often destroyed according to particular power relations so it means taking a stand in those cases, which I am not really interested in doing either. I think I am simply interested in looking.
You pick people, and they pick you sometimes. It's especially great to connect with people you think you have nothing in common with.
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