The digital age is for me in many ways about temporal wounding. It's really messed up our ontological clocks.

At any moment I could give up, but I haven't because love for me is an indispensable structure for being.

Not only is true love rare and true rebellion rare, real love is itself a radical form of rebellion - engagement, thinking, and being - and therefore happens in the context of a larger project of justice, liberation, and critical thinking.

You have to have an eye and a feeling for where things go. Writing visually, writing textually, writing sonically. Text is visual for me and images are textual. There is power in the way ideas are arranged, not just developed rhetorically. Form is everything.

For me, the eye and the word go together. Even when I was working in word documents, I was always obsessed with fonts, size, margins - the look of words on a page. The way something looks or sounds is also what it means.

I was never really satisfied with writing only text or with the way my texts looked when they were published. Most online journals have a pretty lame sense of typography - bad font, counter-intuitive margins and line spacing - that it makes me sour on my writing.

Thinking through quotes, which to say scouring a range of texts for insight, is one way to outline the process of thinking/feeling through a subject.

I'm a discursive thinker, so quotation has played an active role in the structure and content of my books from the beginning.

Love has been the ontological pattern for me. And also the withholding pattern. I am still on hold with regards to love. And the longer one is on hold, in suspense, on a search, the harder, paradoxically, it is to continue with a search.

True lovers are as rare as true rebels.

Love is an active construction, and choice, not just an encounter that happens by chance.

Both cinematic culture and the culture at large have changed profoundly. We're now in post-cinematic digital culture, and the internet has obviously usurped movies, which are no longer central to our lives, at least not as a collective spectator experience.

The digital artwork is characterized not by the technology which delivers it, but by the passage itself.

The way something looks or sounds is also what it means. Words as visual and aural phenomena, which mainly poets, not critics and prose writers, tend to be obsessed with. I think maybe I'm more of a curator than I am a writer in the strict sense because I am interested in how everything on the page, in a space, works together.