I was quite intrigued by the idea of following the exploits of people who are often in the margins.
I've always felt like I was on the margins. Once upon a time that's what independent used to mean.
I was not a punk rocker, absolutely not, but I certainly knew quite a lot of them, and I definitely went to the Mab - it was raw, interesting intense scene, so I was very drawn to it, but I was a total outsider.
The lunatic fringe is more like a Spanish shawl, where the fringe makes up the entire garment.
But even with no money you could still go to places like the Scotch Club and, you know, John Lennon might be sitting right over there, but I was certainly not a part of any of that circle. I was truly peripheral.
Poetry, in the past, was the center of our society, but with modernity it has retreated to the outskirts. I think the exile of poetry is also the exile of the best of humankind.
Minority art, vernacular art, is marginal art. Only on the margins does growth occur.
Usually my ideas for work have revolved around my interest in people, especially people that live on the edges of society.
Women writers specifically... are the ultimate outsiders.
I survive at the edge of friends circles.
She was a patron saint of the peripheral.
We're outsiders, and so when we walk through the city, we're there and not there at the same time, participating and observing simultaneously.
I lived in the cultural equivalent of Tatooine when I was a little boy. I didn't live in London, I didn't live right in the middle of where everything was happening, I lived on the very edge of it.
I was right at the edge of their circle, like the tail of a Q...
