I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.

I don't think "I'm going to publish this as fiction" but I think "I'm going to tell this story to a friend" and then I start telling the story in my mind as the experience transpires as a way of pretending it's already happened.

When the narrator feels like an octopus, when he says his limbs are starting to multiply, he means he has inklings of orders of perception beyond his individual body.

I have no interest in artists who are purely affirmative, who've made a commercialized fetish of the culture's stupidity.

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.

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 like to think - knowing that it's an enabling fiction - of those moments as fragments from a world to come, a world where price isn't the only measure of value.