Back in 1992, I had my first story accepted by 'The New Yorker.'

I sometimes think that I can't do the bigger thing that [Zadie Smith] do so beautifully, as in Swing Time, with so much world in it and so much rapturous paint thrown around. I don't think it would be possible to write a book on that scale with as much OCD as I have.

I don't use the word lightly, in fact, I don't use it at all, but Ben Marcus is a genius, one of the most daring, funny, morally engaged and brilliant writers, someone whose work truly makes a difference in the world. His prose is, for me, awareness objectified-he makes the word new and thus the world.

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.

Every step was a victory. He had to remember that.

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

I often wonder if there are certain areas of real life that are roped off, with a sign saying, "Art, don't come in here." But that's maybe a deeper question.