As the writer of this book [Lincoln in the Bardo], what I loved was the feeling of having so many surprises come at the end that I hadn't really planned or planted.

I often think about image, and image is something that - but in truth, the real artistic process, as I've understood it, is 95 percent intuitive, like seat-of-the-pants, at-the-moment decisions that you can't even explain, you know?

From across the woods, as if by common accord, birds left their trees and darted upward. I joined them, flew amount them, they did not recognize me as something apart from them, and I was happy, so happy, because for the first time in years, and forevermore, I had not killed, and never would.

I started out in engineering. I was a geophysical engineer. Throughout the course of my life I've done a lot of strange jobs, and the effect has been to make me think a little more skeptically about our capitalist society.

Do not really like rich people, as they make us poor people feel dopey and inadequate. Not that we are poor. I would say we are middle. We are very, very lucky. I know that. But still, it is not right that rich people make us middle people feel dopey and inadequate.

It's not fiction's job to be photographically representative of reality. If I want to make a fictional world where there's no kindness, this doesn't mean I believe there's no kindness in the real world. In fact, what it may mean is that I very much value kindness. Like if you make a painting in which only greens are allowed, it wouldn't mean you don't believe in blue.

[Lincoln in the Bardo] is not a long book. And that meant I could obsess over it and live in it both backwards and forwards and hyper-control everything.