A Quote by Alexandra Kleeman
A lot of the surreal writing that I love is really dreamlike. Like Murakami. He uses the real world, and it's pretty recognizable, but its populated by these strange visitors, or it has these underground spaces. I was always really compelled by that.
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I definitely write about a lot of dreamy, surreal stuff. I do end up going to a surreal world with my music, but I also like the idea of there being really real stuff as well.
A couple you do not recognize - visitors, strangers - come to the door. How are you to view these people and what is your responsibility towards them? ... To assume that these visitors are really like you, that there are no real difference between you and them, and that the highest goal possible is that you and the other members of your congregation will become intimate friends with them and invite them into the private spaces of your life.
It's really strange being in, like, Addison,Texas, and having people come up to me at a Nordstrom's or a gas station. It's really, really surreal.
I wanted to literalize the surreal here. Those are my favorite kinds of stories. I love when Gabriel García Márquez does that, for instance - it adds to the joy, dares you to believe the unbelievable. And why not: so much of life is so dreamlike, so strange, so absurd.
I'd never really experienced the West before moving to Colorado. The East Coast, where I grew up, has a lot of big cities, like Boston and New York, and is more densely populated, and I instantly fell in love with the big open spaces of the West, where you can see not just for a few miles but for a few hundred miles.
I didn't really get into underground comics, though I've liked some of what I've seen. Dame Darcy was very impressive to meet, really talented. In general, I've always been more interested in searching out music, so I think I miss out on a lot of underground art.
I'm a pretty strange guy, so it takes a pretty strange thing to make me think that somebody else is strange. I'm really looking forward to something strange happening to me, but it hasn't really happened yet. The strangest thing someone ever told me was that they were watching our show, and they said they should have worn diapers.
There's a lot on my plate, but the cool thing is everything that I'm doing I'm really into. I love 'Lucha Underground.' I love Impact. I love wrestling every weekend all over the world.
My first book is really comparable to what I do now, where it's pretty surreal and strange at moments, but that being my first book - I wrote that when I was 22; it came out when I was 24 - and it was just really overwritten. I just didn't trust myself as a writer to say something once.
I love listening to old school stuff. I listen to some new cats out here, but I'm really into, like, Tech N9ne and his clique; I really like Eminem and those guys - cats that got real flow: I really connect with that. But I do love rock. I love a lot of electronica because I love programming synthesizers.
I was embarrassingly well-versed in Marvel lore, so it was pretty easy to slip into that world. But really, already, by the time I'd started writing superhero comics, my dream was really to be writing my own characters.
I love to read and teach experimental fiction but yes, neither this work nor my first novel is really that experimental. It uses some experimental techniques but in the end, I would not say that it is experimental. I'm not sure why. I do a lot of writing on my own, and I have always just written this way.
I think I was the only person in my experimental film class doing comedy. But my sense of humor and a lot of comedy that I love is quite surreal and strange, you know? You could argue that 'Monty Python' is experimental film. It just happens to be really funny.
When you have really good writing, you're compelled by the actors who are in it, and you may think it's the actors or the design or the filmmaking of it, but then you're like, 'Well, the base is a really rich story that these guys have created.'
A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.
There have been times in my adolescence where I gave up. I was like, 'I'm just never going to be pretty. I'm never going to be like one of those people on the front of magazines.' It always seemed really strange to me that the projection of how people are in advertisements looked nothing like the people who were actually buying them. You know what I mean? I never understood that mismatch, and now I really start to see that the people you see in the media are a lot more like people actually are.
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