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Quote by The Switch

“Look at us. Running around, always rushed, always late. I guess that's why they call it the human race. What we crave most in this world is connection. For some people it happens at first site. It's when you know, you know. It's fate working its magic. And that's great for them. They get to live in a pop song; ride the express train. But that's not the way it really works. For the rest of us it's a bit less romantic. It's complicated and it's messy. It's about horrible timing and fumbled opportunities. And not being able to say what you need to say when you need to say it. At least, that's the way it was for me.”

Quote by The Switch

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The Switch

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“I've come to believe that at different times our lives we are drawn to certain people for various reasons, mainly because that version of ourselves is connected to that version of them at that particular time. If you stick at it, work at it, you can grow in different directions together. Sometimes you get pulled apart, but I believe there is the right person, the one, for all the different versions of yourself. Gabriel and I lived in the now. Gerry and I aimed for forever. We got a fraction of forever. And an enjoyable now and a fraction of forever is always better than doing nothing.”

ForeverVersionsThe Now
Book:Postscript
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“On one level, the poems after Verlaine in this new book are a selfish project. I wanted to try on a voice with which, despite sharing some stylistic and tonal sympathies, I seemed to have little in common. It served as a psychodramatic exercise, a walk in somebody else’s shoes. Writing each new poem while drawing on the raw material of Verlaine in translation has led me, in the always dramatised context of the individual poem, to think and say things I’d likely never have dreamed of otherwise. But just as importantly, I hope these poems paint a fresh portrait of Paul Verlaine, however partial and sketchy, that reveals him to be a more surprising, hard-thinking, and even revivifying poet than expected. Beyond his skilled conjuring of delicate and atmospheric allusiveness, at its best, his is also poetry of punchy musicality, philosophical edge, and candidness – both intellectual and emotional – which allows for genuine beauty, sensuality, and sadness.”

PoetryVoiceVersionsFrench LiteratureDramatisation
Book:Same Difference
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“On one level, the poems after Verlaine in this collection are a selfish project. I wanted to try on a voice with which, despite sharing some stylistic and tonal sympathies, I seemed to have little in common. It served as a psychodramatic exercise, a walk in somebody else’s shoes. Writing each new poem while drawing on the raw material of Verlaine in translation has led me, in the always dramatised context of the individual poem, to think and say things I’d likely never have dreamed of otherwise. But just as importantly, I hope these poems paint a fresh portrait of Paul Verlaine, however partial and sketchy, that reveals him to be a more surprising, hard-thinking, and even revivifying poet than expected. Beyond his skilled conjuring of delicate and atmospheric allusiveness, at its best, his is also poetry of punchy musicality, philosophical edge, and candidness – both intellectual and emotional – which allows for genuine beauty, sensuality, and sadness.”

PoetryVoiceVersionsFrench Literature
Book:Same Difference
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“Today, at different times, I ran into two friends who'd had a fight. Each one told me his version of why they'd fought. Each one told me the truth. Each one gave me his reasons. They were both right. They were both absolutely right. It's not that one of them saw it one way and the other another way, or that one saw one side of what happened and the other a different side. No: each one saw things exactly as they'd happened, each one saw them according to the same criterion, but each one saw something different, and so each one was right. I was baffled by this dual existence of truth.”

LifeTruthVersionsArgumentsFightsDisagreements
Book:The Book of Disquiet
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