Above them, parades mark the passing of days through parks where pale colonnades arch in marble and steel, where all of the Twenty Thousand attending… - Joanna Newsom

I'm not terribly interested in playing harp on other people's music right now. Partly because I feel like many people view the harp as this kind of gimmick. You know, like they have songs that are fully realized, complete songs, and then they think "How do we make this special? - Ooh, let's bring the harp in!" and they kind of want a harpist to play a glissando and play some heavenly noise in the background. I'm really interested in the harp as a fully actualized, self-contained way of presenting songs. That there is a bass in the harp - there is a way to create a rhythmic sense without drums - there's a way to have all sorts of textural variations and expressive variations.
I also don't want to feel bound to the harp, I'd be interested in bringing other instruments in at some time. But I think the harp has been viewed in one particular way for so long, and has been limited for so long, that I feel like I am really interested in stretching the boundaries of what it's capable of doing and how it's perceived.

And, for the sake of that pit of snakes,
for whom did you allay your shyness,
and spend all your mercy, and madness, and grace,
in a day, beneath the bending cypress?

What’s redacted will repeat,
and you cannot learn that you burn when you touch the heat,
so we touch the heat,
and we cut facsimiles of love and death
(just separate holes in sheets
where you cannot breathe, and you cannot see).