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 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.

In real life, when you have an emotional experience, it's never just because of the thing that's been said. There's the backstory. It's like [Ernest] Hemingway's iceberg theory - the current emotional moment is the tip of the iceberg and all of the past is the seven-eighths of the iceberg that's underwater.

I have a lot of theories about the beneficial effects of fiction, but I'm always trying to get away from them a little bit.

I think each writer has to seek her most energetic prose style. She has to find a way to write so that nobody can deny it.

The book says [Lincoln in the Bardo],"I really need this sci-fi device of a ghost inhabiting another person." You say okay kind of begrudgingly. So the structure seemed informed by need and efficiency.

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.