What I regret most in my life are failures of kindness. Those moments when another human being was there, in front of me, suffering, and I responded . . . sensibly. Reservedly. Mildly.

Even when the faith goes away, there's that space where you crave something bigger than yourself. For me, that's kind of where art came in, after that.

That's one of the reasons I take a lot of consolation in fiction. You have years to work on it. I think that allows you to reach for the best part of your reader instead of a lot of the internet stuff, in which you're kind of reaching for the worst or the most shallow part of your reader.

I read Rand and thought, "I want to be one of the earth movers, the scientific people who power the world. I don't want to be one of these lisping liberal artsy leeches." So I was working against my actual abilities.

From across the woods, as if by common accord, birds left their trees and darted upward. I joined them, flew amount them, they did not recognize me as something apart from them, and I was happy, so happy, because for the first time in years, and forevermore, I had not killed, and never would.

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.

My idea about collections is that you write as hard as you can for some period and what you're really doing during that time is hyper-focusing on the individual pieces - trying to make each one sit up and really do some surprising work.