I think people have come to expect that in artistic representation; that every work of art should be a work of extravagant hope.

Whatever your supposed politics are - left, right - if you put it in a human connection, most people will rise to the occasion and feel the human pain in a way that they might not if it was presented in a more conceptual way.

He was a father. That's what a father does.Eases the burdens of those he loves. Saves the ones he loves from painful last images that might endure for a lifetime.

If you start with the idea that you are going to be writing about a night in a graveyard, and that there are only a few living people in that frame, all sorts of interesting and difficult technical problems arise. And then form - new form, or experimental form - might be understood as just trying to tell that story most movingly and efficiently.

From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.

When you're out there in America, meeting with regular people, it's a pretty mellow, relaxed, kind-hearted country. The direction from the top, from the President, is following mean-spirited tendencies: fear and undue caution and distrust of the other, so it's very depressing.

All of this strife on the political front might just be the death throes of another set of [less-honorable] American beliefs, that have, at their core, the notion that equality is something the privileged group "gives" to those not so privileged - a reaching down, as it were.