In my work, at any given point,
the great issues of identity politics
and dialectical absolutism assume
a tight coherence, a profoundly
threatening total awareness
by which I seek to mediate
the conflict between meaning
and the extremes of deconstruction.

I never strike a false note
I believe in savvy artistic
incandescence as a constitutive
enhancement of racy sexuality,
all as a way to examine the
necessity of self-love.

It's always dangerous to underestimate
my work. I insult the intellectual
dignity of the French. They arrive
in my brightly colored landscape
right after quitting time only to discover
an empty stage set in which all the clueless
actors have wandered off to an installation
of obsolete Marxist sloganeering.

Yeats was deeply immersed in mythology
and so am I. T. S. Eliot preferred Dante
to Shakespeare, but I don't. Charles Bernstein
loves the way my sentences decompose.
John Ashbery will read my work only
while naked. Everything I do is the pure
output of brains, speed, and skill.

A couple of weeks ago, I digested
Aristotle. I found him to be electrifyingly
ahistorical, and he has now been subsumed
into my work. I have open-ended stratagems
when it comes to the Germans, particularly
Goethe and Kant. They live now in my
imagination. I go way beyond alienation
into a new synthesis of desire and content.

My work stands for something invisible,
something inner. I attempt to explain
the risk of appearing. Foucault would know
how well my work succeeds in revealing
the discourse between power and structure.
When you read my work, you may think
"simile" and "metaphor," but what you really
get is the storm, the dark mansion, the servant
girl standing alone in Columbus Circle.

Triumph and loss permeate my work.
People should try to pick up on that.
My technical virtuosity is unrivaled.
Don't talk to me about subject matter.
My work takes "narrative" and turns
it into whatever happened. In my work,
"story" becomes language contemplating
its own articulation in a field of gesture.

There is a higher reality at play in my work.
Sacred memories resonate with perceptual
knowledge of the body as primal text. Yet
my work is never subservient to the dominant
ideology. It circulates warmly and freely
through all variable channels. My work
is like the furniture you so much want to
sink into, but must wait as it wends its way
from distant points in a giant moving truck
screeching across the country
to your new home.