Hardcover and paperback forever. Someone carve that into a tree.

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

Perhaps it's simply the dual nature of marriage, the proximity of violence and love.

I became a writer through drawing first and then a comic book obsession - Marvel Comics, in particular. I invented a world of superheroes starting in third grade with my classmate, Wai-Kwan Wong. In a classroom of forty kids, let's just say there was a lot of undirected time. But this was good because I was a dreamy boy.

By examining characters lighting the way to hell, as it were, are readers spared iniquity? Are stories a heeded warning, or merely an entertainment? Each story in the collection tries to wrestle with these questions.

I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?

Once when I went over my work with my Washington University professor, the late great Stanley Elkin, he pointed to a passage of mine and said: Stop vamping. It has remained a caution.