Internet porn makes everything more reasonable -- once you've realized there is a massive subculture of upwardly mobile people who think it's erotic to see an Asian woman giving a hand job to a javelina, nothing else in the world seems crazy.

To me, fear of the future means fear of technology. I have a little bit of that. I still use it, but I kind of see technology as this harmful thing that's so ingrained in my life that it sort of dictates and controls my relationship with it.

To me, every interview, even if you love the artist, needs to be somewhat adversarial. Which doesn't mean you need to attack the person, but you do need to look at it like you're trying to get information that has not been written about before.

The last girl I love will be someone I haven’t even met yet, probably.

We argued about how hard it would be to ride a bear, assuming said bear was muzzled.

And it's kind of my own fault too, in the sense that I've used my own life as a literary device so much. I think people feel very comfortable reviewing the idea of me, as opposed to what I've actually written. I find that most of the time, when people write about one of my books, they're really just writing about what they think I may or may not represent, as sort of this abstract entity. Is that unfair? Not really. If I put myself in this position where I'm going to kind of weave elements of memoir into almost everything, well, I suppose that's going to happen.

I get enjoyment out of writing, but I get absolutely no enjoyment out of rewriting, so I don't do much of it. The more you work on something, certainly, the better it gets. But there's also a pretty clear law of diminishing returns. It drives me crazy to do readings of my books, because if I read anything I've written in the past, I'd like to almost rewrite everything.