The protagonist of Fourteen Stories, None of Them Are Yours doesn’t make it easy for us, channeling as he does Barry Hannah and Denis Johnson by way of Rick Bass and Dennis Hopper, and self-presenting as yet another damaged romantic who thinks it’s always time to play the cowboy, skating in and out of sense. He can’t see right, and he’s haunted by nearly everything. He’s trying to open up or shut himself down or at least get a hold of himself. He’s trying to make do with what he’s done, while he reminds us that we’re all, one way or another, in that position.

I have written screenplays. Most recently for Errol Morris, who was thinking about doing his first fiction movie, and with a young director who wanted to adopt Project X. Errol was a hoot. I loved talking with him. We were a good match, too, because we both kept joking that we'd found the only other person on earth more ambivalent than we were about the project.

I very much like people. I don't much like writers who don't.

I don't beat at the details, but I do always keep in mind that anything that isn't A) moving the story forward or B) enlarging my understanding of the central characters has to be sacrificed. I have huge folders of details - research - with a story like Netherlands. Only a very small part of it gets used. The old iceberg analogy again.

She thought she'd put up with however many years of stonewalling for a good reason, and she'd just figured out that as far as Castle Hubby went, she hadn't even crossed the moat yet.

I'll find something in what I read that snags my imagination in emotional terms; it resonates with me for reasons more complicated than just that it seems like it would make a good story.

I'm tempted to do everything. And sometimes I think, "Oh, come on. You can stick that detail somewhere."