Those wounds stay with you, and you turn them into a language and a purpose.

We're gonna play some pool, skip some school, act real cool, stay out all night, it's gonna be alright.

I like narrative storytelling as being part of a tradition, a folk tradition.

The highway's jammed with broken heroes on a last chance power drive.

Well now I'm no hero, that's understood. All the redemption I can offer girl, is beneath this dirty hood. With a chance to make it good somehow, hey what else can we do now? Except roll down the window, and let the wind blow back your hair. Well the night's busting open, these two lanes will take us anywhere. We got one last chance to make it real.

The book was just something that came along after we played the Super Bowl and I wrote a little essay that went online. Then I had two or three weeks and I said, wow, that essay was pretty good. Maybe I'll try and write some other stuff. Writing about the depression, I just felt - you know, when you write a book like this, you have to open up your life. You have to be willing to do so to a certain degree.

...It's all sort of dreams and it's all illusion. It's theater; it's not real. We're making up stories, you know, and people tend to run into you and believe you are your characters. And I suppose the funny thing is the longer you go, you do become sort of some version of [your characters]. You both diverge from them - you know - you live, but you also permanently inhabit that geography and that mental space - and so you do morph a little bit. We do become what we imagine.