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?

I've had that my whole career. People were always hedging around the question of: Why are you so dark? What happened to you?

The weird thing was that I went to Trump rallies thinking I was going to run into militant, right wing, racist people and mostly I didn't. That should have been a clue to me. The people I talked to were not, on the surface level, crazy. They were quite nice, quite normal, employed, and actually were wealthier than the press at that time would have led us to believe. At that time, the narrative was that these were all working poor but these were not working poor. That should've been a clue to me that this was a little bigger than I thought.

While writing this book [Lincoln in the Bardo], [idea of inclusion] occurred to me, you either believe in the Constitution or you don't. If you do, it's intense in what it wants of us.

When I was a kid, I took 'The Brady Bunch' and 'The Partridge Family' very seriously. It was a world to me in the same way that the Greek myths would have been had I read them. You know, Marcia is Athena and Mr. Brady is Zeus.

I think in our time, you know, so much of the information we get is pre-polarized. Fiction has a way of reminding us that we actually are very similar in our emotions and our neurology and our desires and our fears, so I think it's a nice way to neutralize that polarization.

Don't be afraid to be confused. Try to remain permanently confused. Anything is possible. Stay open, forever, so open it hurts, and then open up some more, until the day you die, world without end, amen.