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“[Charlie Parker] was kind of a sponge and intrigued by it all.That's similar to what Phil [Woods] told me about Bird, too. Like he was into cooking. He was just into a lot of things. Yeah, it's about dealing with bebop and jazz and Trane [John Coltrain] and post-Trane and knowing the history. But you've got to live. You have to experience things. Know something in this world. So it was a very deep education about what it means to try and be an artist.”

“The pope [Francis] takes his vocabulary from his pastoral experience, not from the rhetorical tool kit of liberation theology, with its Marxist yammering about "center" and "periphery." The "peripheries," for Francis, are all those who have fallen through the cracks of late-modernity and post-modernity - in his native Argentina, because of colossal corruption, political and financial.”

“Naming is like putting a stamp on something and fixing it. A kind of formaldehyde sort of fixation, but it becomes dead, sitting there forever, frozen. So, I'm not a great one for these modernist, post modernist, post colonial labels. I think they serve certain purpose. You do need some kind of sign post here and there, but it can also become an end in itself.”

“I know so many kids who literally are, like, Instagram-famous. They have done nothing but post pictures on Instagram. And they have followings. People love to see them in person, but it's only because they post on their Instagram. It's literally crazy. Kids will paint a picture of themselves that is so far beyond who they actually are. It's like they're wearing someone else's skin.”

“Baroque civilization believed in two truths, which for a post-18th-century mindset are exclusive truths - we have to eliminate one to believe the other. They believed in the rational exploration of the universe, and they also believed that there was a hidden spiritual truth. Baroque thinkers were able to live the two at the same time. In any case, for me, it's necessary to live that way also.”

“Once you get past the grand normative claims made in the West for literature, especially the novel, in the post-Christian era - that it is a secular substitute for religion, hallmark of modern civilization, a priori liberal and cosmopolitan, with authors appearing to implicitly embody such pious ideals - you encounter a less agreeable reality: parochialism, blinkered views, even racial prejudices of the kind the bourgeoisie have held everywhere.”

“For me, reggae music and its aesthetic are touchstones in both simple and complex ways. Reggae's capacity to be a folk music that is created in a wholly modern context of the recording studio (and sometimes that is the sole performance space) is riddled with the kinds of contradictory impulses that we have come to expect from the post-modern. I revel in this, for it gives me, shall I say, permission.”

“In a way, America's the shadow of everything I do, everywhere I go, everything I carry, no matter if I travel to the ends of the earth. And I live frequently on the spine of the continent, near the Great Divide. Then there's the side of it being the real energy center for a truly post-postmodernist poetry mind, which is also archaic, because we can still be close to the land.”

“Every decently-made object, from a house to a lamp post to a bridge, spoon or egg cup, is not just a piece of 'stuff' but a physical embodiment of human energy, testimony to the magical ability of our species to take raw materials and turn them into things of use, value and beauty.”

“I love food. I mean, I really love food. I take pictures of my finest, funniest and most fascinating dishes, post them on Twitter, and send them to friends. I treat menus like classic literature, refusing to skip even one word. I read the description of every item, regardless of whether or not I'm interested in eating it.”