Full Stories Are As Rare As Honesty.

For Example, You Have These Grotesque, Hilarious, Profane Ghosts In The Book [lincoln In The Bardo]. Even The Concept Of Talking Ghosts Is, From An Aesthetic Point Of View, Grotesque. But You Seem Compelled By That Risk In Order To Get To The Other End Of The Equation.

To A Novelist, Fluidity Is The Ultimate Good Omen; Suddenly Difficult Problems Are Simply Solved, Intractable Structural Knots Loosen Themselves, And You Come Upon The Key Without Even Recognizing That This Is What You Hold.

Time Is How You Spend Your Love.

I'm Always Interested In The Way People Speak And Move In Their Environment, In A Very Particular Environment. I'm Never Interested In Writing A Kind Of Neutral, Universal Novel That Could Be Set Anywhere. To Me, The Any Novel Is A Local Thing Always.

We Are So Convinced Of The Goodness Of Ourselves, And The Goodness Of Our Love, We Cannot Bear To Believe That There Might Be Something More Worthy Of Love Than Us, More Worthy Of Worship. Greeting Cards Routinely Tell Us Everybody Deserves Love. No. Everybody Deserves Clean Water. Not Everybody Deserves Love All The Time.