I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor

When I was a kid and we played baseball we used to use that "eye black" stuff sometimes - that kind of grease you put under your eyes to reduce glare or something. We only used it, of course, to look cool; it's not like we were any better prepubescent athletes for reducing glare.

Many of the left thinkers that really matter to me - that formed a big part of my thinking about politics and art - emphasize how capitalism is a totality, how there's no escape from it, no outside.

Experiments with the "as if" of fiction are often more lively in poetry and criticism and other modes of writing than in weak short stories or novels.

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.

Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.

I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.