Our real discoveries come from chaos, from going to the place that looks wrong and stupid and foolish.

I still love him so much I'll hide any amount of conjugated estrogen in his food. So much I'll do anything to destroy him.

I'm always looking for context in which people tell stories. In "Fight Club" it's these support groups for dying people, and then in "Choke" it's 12-step recovery groups. In one novel it's artists' colonies, in another novel it's a diary form that submariners' wives typically keep so that when their husband comes back from serving on a submarine they have an accounting of their spouse's time. So I'm always looking for, number one, a non-fiction context - because you can tell a more outrageous story if you use a non-fiction form.

These days, most of the people you hear laughing are dead.

I want out of the labels. I don't want my whole life crammed into a single word. A story. I want to find something else, unknowable, some place to be that's not on the map. A real adventure.' A spinx. A mystery. A blank. Unknown. Undefined.

And it [Fight Club novel] was written so general that my father thought I was writing about his father, and my boss thought I was writing about his boss. People really put themselves, you know, in the shoes of the narrator.

You always kill the one you love.