I never really had novel-writing instruction like people do in MFA programs.

That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible, realist story that had these somewhat articulate characters, a lot of silence, a lot of obscured suffering, a lot of manliness, a lot of drinking, a lot of divorces. As my writing went on, I shed a lot of those elements.

The politics of transgender identity are really complicated. And the debate over how much of gender is biological and how much of it is socially constructed is a very complex debate.

Only when you leave do you appreciate what binds American people and our cultural experience together.

My parents didn't really restrict my movement, so I got involved in the underground music scene and the activism scene; I was doing some volunteering in food relief. I spent a lot of time throughout the city in poor areas, even though my family lived in a wealthy area.

I was raised with opera and very white-bread folk music like The Kingston Trio. That was about as daring as it got. So when I discovered hip-hop as a teenager, at first it made no sense to me at all.

I had observed people whose identity crises around race seemed analogous to other people's identity crises around gender.