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“To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.”

“The problem facing humanity today is not a political problem; it's not a financial problem; it's not a military problem. It's obviously a spiritual problem. That is, it has to do with what we believe to be true about who we are, where we are, why we are where we are, and what are we doing on the Earth. What is the purpose of life itself? What we need right now are leaders or models, people who will stand up and not only help to write a cultural story, but help to model it in the way that they interact with each other.”

“Making promises to myself, in my personal writing practice, has been important to me all my life. In practical application it is so much easier for me to make promises to others, and keep them, than it is to make promises to myself. "Why is that?" and the answer I gave myself is that in making promises to others I create a model of accountability and reinforcement. I duplicate that in my writing and have grown increasingly better at making and keeping promises to myself.”

“Johnson is wise, Boswell foolish; Johnson warns and abstains, Boswell plunges; Johnson is rather a great man writing than a greatwriter, Boswell is a great writer and an ordinary man; and they are two of a kind, abysmal melancholics and compulsive socializers, afraid of solitude and afraid of death and dissolution, victims of themselves, meant for each other, needing each other, needing evidence and arguments (Boswell is a lawyer, Johnson magisterially dictates to him some of his briefs), making beautiful models of rational discourse out of the useful substance of all they know.”

“Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.”

“"Oppression" or "systems of oppression" operate as a shorthand terms in much writing and speaking so that we do not have to list all these systems of meaning and control each time (i.e. racism, ableism, xenophobia, etc.). I needed a term like that, but "oppression" implies a kind of top-down understanding of power that is at odds with the Foucaultian model I rely on in my work.”

“We are living in a renaissance of personal writing. People are rebalancing the impersonalization endemic to modern society with an increase in personal introspection. We have enough common psychology under our belts to know that psychology doesn't explain or heal everything and that it isn't the fulfillment of awareness, but its beginning. We are undergoing a shift in paradigms in which we are trying to develop new models for humanness and human responsibility. This is no small task. Our individual lives are placed under increasing pressure to respond adequately to both inner and outer change.”

“When I started out playing guitar and singing, I was about twelve, going on thirteen. The role models for me back then were the folk singers. They all had these high, really nice voices and ranges, like Judy Collins and Joan Baez, and then later, of course, Joni Mitchell and Linda Ronstadt. I decided early on that I was going to learn how to write songs really, really well, because I didn't want to have to compete as a singer. I didn't feel that it was my strong point.”

“[The Center for Industrial Progress'] model allows us to keep conflicts of interest to an absolute minimum as we do our research and writing. As for our relationship with the fossil fuel industry, it's the same as everyone else - they pay for our ideas, we never accept money to voice theirs.”

“They [academy writing programs] have no concept that the world has changed, that publishing has changed, that filmmaking has changed, and if you're not constantly looking at your education model and adjusting for the change, you'll find yourself teaching antiquity. Like all of these programs that won't accept students who are writing genre fiction - what an institutional ego!”

“In a way, that's also a recognition that Dante needs Virgil and that the Inferno needs the Aeneid and that the epic needs a model and that for Dante to write this great poem he needs someone to come before him and he turns to Virgil's text, especially book six where Aeneas goes down into the underworld. And for me, that's a model of the poet's relationship to previous poetry, to another poetry as calling out for guidance.”

“It's called "Pickman's Mephitic Models," based on the story [Pickman's Model by H. P. Lovecraft].Certain things about it many people don't realize. Pickman was a real painter who lived between 1888 and 1926. Now, there's a question mark [gesturing toward the writing in the margins of the painting], because Lovecraft claims that he turned into a ghoul. God knows how old he is now.”

“At the moment we have a critical situation in Greece. Even as we speak, where there is an open attempt by the EU to destroy Syriza by splitting it. There is a German obstinacy and utter refusal to seriously consider an alternative. The reason isn't even a lack of money, because money swims around the EU coffers endlessly, and they could write off the debt tomorrow if they wanted. But they don't want to do so, because of the election of a left-wing government. They want to punish Syriza in public, to humiliate it so that this model doesn't go any further than Greece.”

“Here in the United States, we speak with reverence of authentic experience. We write poems about our daddies taking us fishing and breaking our hearts by making us throw the little fish back into the river. We even tell the reader the kind of car we were driving, the year and the model, to give the impression that it’s all true. It’s because we think of ourselves as journalists of a kind. Like them, we’ll go anywhere for a story. Don’t believe a word of it. As any poet can tell you, one often sees better with eyes closed than with eyes wide open.”