I didn't want to write another book about fraudulence.

I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life's white machine.

My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.

Art has to offer something other than stylized despair.

The problem is that if you're self-conscious about being a person on whom nothing is lost, isn't something lost - some kind of presence? You're distracted by trying to be totally, perfectly impressionable.

I didn't want to write another book about fraudulence.

Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.