I had a briefcase at one point, but it was a kind of 1980s New Wave briefcase. It was made of some kind of cardboard and it had metal hinges. It was kind of faux industrial looking, and I used to carry my books in it rather than a backpack. I didn't want to have normal student accoutrements.

Being a writer is a solitary life. So the little part of me that's an actor still enjoys the theatrical part of reading and doing the voices and telling the story.

At night the cries of cats making love or fighting, their caterwauling in the dark, told us that the world was pure emotion, flung back and forth among its creatures, the agony of the one-eyed Siamese no different from that of the Lisbon girls, and even the trees plunged in feeling.

I think the suicides in my first book came from the idea of growing up in Detroit. If you grow up in a city like that you feel everything is perishing, evanescent and going away very quickly.

Three times a day Petrovich showed up at the nurse's office for his injections, always using the hypodermic needle himself like the most craven of junkies, though after shooting up he would play the concert piano in the auditorium with astounding artistry, as though insulin were the elixir of genius.

She had given birth to me and nursed me and brought me up. She had known me before I knew myself and now she had no say in the matter. Life started out one thing and then suddenly turned a corner and became something else.

I think there's a real connection between acting and writing novels because the way I write characters has a little bit to do with the method acting that I was taught in high school and college.