We do. Or re-create the ones we have, and project. My whole life is projection.

The 250-page outline for American Tabloid. The books are so dense. They're so complex, you cannot write like I write off the top of your head. It's the combination of that meticulousness and the power of the prose and, I think, the depth of the characterizations and the risks that I've taken with language that give the books their clout. And that's where I get pissed off at a lot of my younger readers.

Noir is dead for me because historically, I think it's a simple view. I've taken it as far as it can go. I think I've expanded on it a great deal, taken it further than any other American novelist.

"War gives men a plain-and-simple something to do ... Women write diaries in the hope that their words will beckon fate." It's a romantic manifesto.

I have insane curiosity as to what happened in all these events. I will never know. I'm not a researcher. I don't possess that kind of mind. I have a researcher who compiles the fact sheets and chronologies that allow me to write these big books of mine.

It's all sex for me. Politics is sex. Race is sex. It's the novel. It's the novel!

I work within the framework of a very concerted, purely driven Protestant Christian mindset. I had dark early circumstances. I went inward. I have a sturdy will. I have a big heart. I'm a decent guy. And I have a great gift. It's blunted me to the world in many ways.