When you're embarking on a piece of writing, the anxiety is just too much, especially when you're young and you're trying to figure out if this is your thing or not. You feel like, "if I don't write a good story, I gotta get going to law school!"

I think even like Saddam Hussein or Hitler would wake up and say, "I think it's going to be a good day. I'm gonna do some really important work." And given their definition of good, they went out and did horrible things.

You can say you're a liberal and everybody laughs and it's a good time.

An artist's job is to be interested in things as they are.

I knew if I evoked that stuff too easily or gratuitously, as a way of assuaging my fears of not being edgy or whatever, the writing would fall apart. This book [Lincoln in the Bardo] was going to have to have some earnestness in it.

Every writer knows that when you're imitating somebody - you know, you're sounding like Faulkner - you're doing pretty good, but your life in Hoboken isn't Faulkneresque.

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.