Well, I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing.
I might be writing what people expect me to write, writing from that place where I might be ruled by economic considerations. To overcome that, I started working with my dreams, because I'm not so censored when I use dream material.
The literary culture, if you examine it, the high literary culture is that which preserves the government and you know it's really the talk for those who have.
I'm very staid compared to my students, actually.
On the surface we all act like we all love each other and we're free and easy, and actually we're far more moralistic than any other society I've ever lived in.
But I still don't have a clear idea of what my voice is.
I think what we have in this country is a little more dangerous in a way because it can't be seen fully. It's sorta internal censorship. We censor each other.
I understand that when people read my books that there's something there - but I don't identify with it.
Yeah, I mean, I put work out there for people to use and I'm grateful when you use it.
Some of the stuff about Yogi energy is really fascinating.
And I'm working at trying to find a kind of language where I won't be so easily modulated by expectation.
That's what the right-wing is good at: figuring out the left wing.
You know I've had work banned.
I wasn't really into body piercings until I found that about half my female students had them.
There's a backlash against womyn that's really bad right now.
And internalization is used in this country as a very effective political tool.
But guys such as Allen and William are more supportive than most men.
First of all, writing at best - certainly fiction writing - more and more I think is magic.
I found my voice was a reaction to all that voice stuff.
I mean, once work's out there it's meant to be used.
