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.

In the moment of reading, the writer comes up to the surface and the reader comes up to the surface and they kiss, like two fish. That actually does happen.

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.

I think this is the other big issue that is not going away: Do we really believe that bit in the Constitution or not? I think we do.

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.

Whatever happens, we can deal with it if we admit that it's happening and so on. So to be comfortable with what is - that is a real superpower.

The great American denial riff is that you can do whatever you like and you always triumph at the end. The world is saying no, you can do what you like, but there are consequences. And maturity is to be able to turn to the consequences and accept them.