Somewhere, at some point, somehow, somebody decided that death equals credibility.

Different critics go to different lengths to disagree with that sentiment, but ultimately, they're the person experiencing this art, and whatever judgment or taste they use is internal, and says more about them than about the record they're writing about.

The people who review my books, generally, are kind of youngish culture writers who aspire to write books, or write opinion pieces about what they think of Neil Young, or why they quit watching ER or whatever. And because of that, I think there's a lot of people who write about my books with the premise of, "Why this guy? Why not me?"

I think one of the many interesting things about [Donald] Trump is that people in the media did not take him seriously for months. Then, when it was clear he was going to be the nominee, they immediately hit the panic button. I think they overlook the possibility that he could just be a really bad president in the way that presidents are traditionally bad.

The biggest hurdle to writing Fargo Rock City was that I couldn't afford a home computer - I had to get a new job so I could buy a computer. It could all change though. In five years, I could be back at some daily newspaper, which wouldn't be so bad.

It might sound chauvinistic, but there is a sad reality in rock music: Bands who depend on support from females inevitably crash and burn.

Necessity used to be the mother of invention, but then we ran out of things that were necessary. The postmodern mother of invention is desire; we don’t really “need” anything new, so we only create what we want.