Nothing that lived and breathed was truly objective—even in a vacuum, even if all that possessed the brain was a self-immolating desire for the truth.

Once you realize there's less logic in human institutions than you once thought, you see the narrative potential in just about everything around you. Sometimes, in fact, it seems as if the human world runs on inefficiency and erratic behavior.

Nothing that lived and breathed was truly objective—even in a vacuum, even if all that possessed the brain was a self-immolating desire for the truth.

I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.

The city might be savage, stray dogs might share the streets with grimy urchins whose blank eyes reflected the knowledge that they might soon be covered over, blinded forever, by the same two pennies just begged from some gentleman, and no one in the fuming, fulminous boulevards of trade might know who actually ran Ambergris-or, if anyone ran it at all, but, like a renegade clock, it ran on and wound itself heedless, empowered by the insane weight of its own inertia, the weight of its own citizenry.

The stories in Get In Trouble confirm once again that Kelly Link is a modern virtuoso of the form-playful and subversive required reading for anyone who loves short fiction.

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.