"Well, Nabokov is definitely my favorite author, though I feel strange calling him an "influence," since I can't trace the ways in which his writing may or may not have seeped into my own. But I also love William Faulkner, Thomas Pynchon, Kenneth Patchen, Joyce Carol Oates, Philip Roth, Mark Helprin , and Kurt Vonnegut. My favorite book of all time is The Last Unicorn by Peter S. Beagle."

“Pitchfork Media record review of "Ys”

“I can't call them linear narratives, and I can't call them chronological in a traditional, classical sense; I'm sure there's plenty of stuff I borrow more from William Faulkner than William Shakespeare. I just find it funny that at this point, we see a collection of highly charged, highly potent symbols as referring back to a classical aesthetic, because to me they seem deeply connected to the pedestrian actuality of real life.”

“I don't necessarily see the elements that I invoke on the cover and in the songs as being in binary opposition. I know certain binary tensions emerge between these elements, but a lot of times they're more like archetypal elements; these free-standing, huge forces. Mortality, standing alone, as a thing; as opposed to, "Over here's life; over here's death. Here's bad luck, but here's blessing and redemption. Here's water; here's fire." Certainly those things come up again and again in the songs, but it's not intentional, and probably has more to do with the fact that those things emerge in real life, without any effort on our part whatsoever, than they are derived from any classical tradition. I think classicism in general might reflect more closely the natural order of human life, while postmodernism is somehow removed from the natural order, more cerebral and sterile, removed from real life on some level. So what seems like classicism in some of these songs might be just what I view as an accurate reflection of real life on this planet.”

“We are blessed and sustained by what is not said”

“I have a lot of interest in interior rhyming; not just rhyming at the end of the lines, but playing around with rhymes within the lines, playing with where the syllabic emphases in the sentences are, lining those up at strange moments in the line of the song. I’m not sure if that comes across or not.”

“My voice in combination with the harp - which, by the way, I use because I've played it my entire life, not to make some statement about the harp - somehow has … coloured people's interpretations of the music and projected an idea of childlike or fairytale quality or innocence. Which sometimes prevents people from listening to the songs the way I would like them to be listened to.”