[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.
Emily BartonI think that whether you've just begun writing or whether you've been writing for fifty years - I mean, I'm excited to get there and tell you about it when I do - I think that there's always the challenge of believing in yourself enough to get the work done and not being so taken with yourself that you're unwilling to continue to work on the work.
Emily BartonIf I don't write every day for one week or even, frankly, one year, I don't really think too much about that.
Emily BartonI may be the person who put "dieselpunk" into the conversation. I have always been a reader who reads in a really broad way. I read genre writers and I read literary fiction and I read books by dead people.
Emily BartonTeaching is enormously satisfying because I'm constantly learning more. Just constantly being exposed to new voices and new life experiences and new worldviews and new structural dilemmas and new characters - it's really exciting for me.
Emily BartonBecause I think of novels as collaborative enterprises between the writer and the reader, all of my novels so far have ending with endings that maybe point in more than one direction, and that seems important to me because it seems important to me that after you've invested twenty or thirty hours of your imaginative life into this narrative that you have some stake in how it ends.
Emily Barton