Back in the day, a lot of our instructors in nonfiction were actually fiction scholars. So they would bring in stories as models for the essay. And in some ways that's a good idea, because we can all learn from other genres. But I think it also made me realize that I literally didn't have an essay model, and that if I wanted one I would have to find it.

Inclusiveness isn't what I want to push back against. The obsession with facts is.

An essay is something that tracks the evolution of a human mind.

I would ask the people who were generous toward my own work. After class one day a poetry professor said to me, "Hey, there's this guy Basho you would find interesting," and so I found Basho. A fiction teacher told me, "You ought to read Clarice Lispector if you're interested in that sort of in-between stuff," and then Lispector appeared. It's not magic. You just keep your eyes open.

The best stuff that Cicero wrote, in the first century in Rome, were the Philippics, a series of speeches that he delivered against Marc Antony, whom he thought was irreparably dismantling the Republic of Rome. Those speeches are powerful because they're not only really pointed but they're thrillingly beautiful - and that's precisely what made them dangerous: the fact that people wanted to read them.

The essay community should have hundreds of anthologies from hundreds of different perspectives that are constantly introducing us to new writers, new work, and new visions for our genre. The whole spirit of these anthologies is that there should never be a last word in how essays are interpreted or what they can be.

What I didn't realize when I was in school and what I suspect a lot of young writers today don't get either is that you have to create the world that you want to exist in as an artist.