I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that "reader" is actually just me, if I had never read the story before.

That luminous part of you that exists beyond personality - your soul, if you will - is as bright and shining as any that has ever been. Bright as Shakespeare’s, bright as Gandhi’s, bright as Mother Theresa’s. Clear away everything that keeps you separate from this secret luminous place. Believe it exists, come to know it better, nurture it, share its fruits tirelessly.

When you read a short story, you come out a little more aware and a little more in love with the world around you. What I want is to have the reader come out just 6 percent more awake to the world.

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

Some of Buddhist texts say that, in the moment after you die, you think of New Jersey and you go to New Jersey or you think of 1820 and you go to 1820. Also, all your sort of inner-symbology gets writ large. So, if you're a Christian, you see Christian iconography.

I do find the values in A Christmas Carol significant. It is important not to be mean and stingy and not to give up love for money.

I had to go in and do the work of toning [invented "historical" bits] down in order to make them fit [in Lincoln in the Bardo]. It's like if you're an actor and you're always overacting, well, you're a bad actor. But if you're an actor who subdues yourself to the extent that's necessary, then you're really acting.