The transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.

I'm increasingly on the side of thinkers like David Graeber who are talking back to this notion of totality and emphasizing how there are all kinds of moments in our daily lives that break - or at least could break - from the logic of profit and the modes of domination it entails. Zones of freedom, even if it's never pure.

Your interviews or blog posts or whatever are less supplements to your novel than part of it. I'm not private, but I believe in literary form - I'll use my life as material for art (I don't know how not to do this) and I'll use art as a way of exploring that passage of life into art and vice versa, but that's not the same thing as thinking that any of the details of my life are interesting or relevant on their own.

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.

I think the parable is a peculiar way of saying that redemption is immanent whether or not it's imminent, that the world to come is in a sense always already here, if still unavailable. I find this idea powerful for several reasons. For one thing, it's an antidote to despair.

The story and the poem are obviously changed by being placed in the novel, so in a sense they're no longer the works that preceded the novel.

I’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.