With fiction, and also with nonfiction that you can take your time doing, you have a much better chance of reaching across the divide and connecting with somebody who is opposed to you on some things. They're opposed to you on one axis, which is politics, but if you go over the axis called puppies, you might find some common ground.

Twitter is a deliberate abstention. Somehow I hate the idea of there always being, in the back of my mind, this little voice saying: 'Oh, I should tweet about this.'

We all think we know what happens after death. But maybe it's going to be not only weird but also dorky and comic and inconsistent.

I think if someone could demonstrate to me that fiction did no good, I would still do it, because I think it does good for me.

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.

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.

I would kind of, you know, go stand next to some unlucky guy and say eventually, Hi, I'm George. You know, I'm with The New Yorker. I'm a liberal. I'm somewhat left of Gandhi. Do you want to talk? And, you know, they always did.