“You know, Brian Eno is not really a ‘route.’ That’s like saying to a painter, did you ever think of going the Leonardo da Vinci route? You know, design helicopters and drum machines, and paint the Mona Lisa? Eno is really a law unto himself. He’s extraordinary both as a producer and as a solo artist, to have produced megahits by U2 and Coldplay but also to have invented ambient music and all the installations he’s done and so on… it’s really extraordinary. I would be flattered to follow in those footsteps. But I don’t think that’s a route you can pick…

You know, when Eno puts out a solo record, you don’t check to see where it got to in the Billboard charts, or how many copies it sold, or whether it’s getting much radio play. You just sort of assume that it’s going to be something that is just there, it’s out, available. It will be influential, but it’s not really going to make a mark on the mainstream. And I suppose I was too chicken to do that. I didn’t like the idea of a world in which my stuff would not even scratch the surface of the mainstream, because I do have the ability to do that and to make records like that. So I wasn’t ready to completely give up on that.”

“Obviously, there were a lot of negative things that happened, but I came out of this completely happy. I made a piece of art out of an experience that could have been devastating… I sold the fortress after all of this, and I remember when I was packing up before I left, a woman I knew in the village said, ‘You know, some people could never recover from this, because you basically lost everything.’ And, you know, I just decided that that’s not going to happen to me, and I’m not going to be devastated by this. It’s something that happened to me; I’ve learned so much from it. Hopefully, what I’ve learned is in this book, and this book will be out there in the world and create something good.”