You can see the diversity that pieces in the anthology represent, and then the interconnections-obvious and less obvious-between various stories or between various modes of storytelling. Diversity generates need for conversation, conversation generates common interests, as well as differences. Literature, as a human project, is all about that.

I've never had a stupid student in my life. I never look down on my students. I never thought, "Look at these people." I might argue with them and I think that some of them might have misconceptions - that they might be infected by the intellectual laziness that is the foundation of American popular culture, and of capitalism, if you wish. But part of my job as a teacher is to work with that - against that.

I'm not nervous if I think about something for nine years and then I don't write it. Even if it fades it doesn't concern me. It'll come back if it's worth it.

What I don't like about America is not necessarily an American thing; it's a capitalist thing. This is the Vatican of capitalism.

I recognized him then; that is, I finally comprehended what I had known but had never been able to formulate: he had always been complete. He had finished the work of becoming himself, long before any of us could even imagine such a feat was possible.

I suppose I'm interested in sorrow, which is very different from depression or despair. Sorrow is continuous with the world; it allows for creativity.

There are many things I think about that never get to the point of becoming serious. In other words, I try to talk myself out of writing, sometimes for many years, and when I run out of arguments, I write.