That's one of the reasons I take a lot of consolation in fiction. You have years to work on it. I think that allows you to reach for the best part of your reader instead of a lot of the internet stuff, in which you're kind of reaching for the worst or the most shallow part of your reader.

That's one of the reasons I take a lot of consolation in fiction. You have years to work on it. I think that allows you to reach for the best part of your reader instead of a lot of the internet stuff, in which you're kind of reaching for the worst or the most shallow part of your reader.

I'm a big fan of the Russians: Isaac Babel is just an exquisite line-to-line stylist.

Chekhov - shall I be blunt? - is the greatest short story writer who ever lived.

What's really baffling to me is the way that the technology has risen up to help us become more materialistic.

So much of what I am doing in my fiction is just trying to get into interesting places in terms of language or form, places that don't bore me. And this happens via hundreds of quick micro-decisions that are done "to taste," so to speak. So the experience is one of groping toward that interesting place - trying to leap away from anything that seems boring, or about which I don't have strong opinions. Essentially trying to avoid that moment where, devoid of any strong feeling, I start conceptualizing.

Just through the process of trying to make the living and the dead feel real, all these little benefits came out. And these benefits turned out to be much more articulate statements of what I really believe. And somehow they were more convincing because they were arrived at at such length.