I always, at least back then, struggled with emotion in writing. I felt like I could do odd, unusual things, but there wouldn't be enough feeling in them, and maybe if there's a progression at all to anything that I've done it's that I've always wanted to have a high - an almost overwhelming - degree of feeling in what I write.

With students, one is often in the position where you have to be authoritative about what they're doing and connected to some principle. I prefer not really knowing the answer to anything interesting and I try to encourage that in teaching. If I start to feel certain about something my curiosity goes away, my mind shuts down. I'm sure that's not always true, it's stupid to generalise.

I always, at least back then, struggled with emotion in writing. I felt like I could do odd, unusual things, but there wouldn't be enough feeling in them, and maybe if there's a progression at all to anything that I've done it's that I've always wanted to have a high - an almost overwhelming - degree of feeling in what I write.

People are considered as areas that resist light, mistakes in the air, collision sweet spots. At the time of this writing, the whole world is a crime scene: People eat space with their bodies; they are rain decayers; the wind is slaughtered when they move. A retaliation is probably coming. Should a person cease to move, she would cease to kill the sky, and the world might begin to recover.

In some sense, prose fiction is just a way of unlocking a space. If I can unlock the space, it comes out and it's vivid, I find that I care about it, and it's part of me.

It's lonely to listen to the pleasure of others, not that I've made a habit of that kind of eavesdropping. There's joy and passion in the next room, in the next bed, but it's not yours.

Suspense left my life a long time ago, now it has returned. I do not care for it.