Each new thing he encountered in life impelled him in a direction that fully convinced him of its rightness, but then the next new thing loomed up and impelled him in the opposite direction, which also felt right. There was no controlling narrative: he seemed to himself a purely reactive pinball in a game whose only object was to stay alive for staying alive's sake.

Our visual cortexes are wired to quickly recognize faces and then quickly subtract massive amounts of detail from them, zeroing in on their essential message: Is this person happy? Angry? Fearful? Individual faces may vary greatly, but a smirk on one is a lot like a smirk on another. Smirks are conceptual, not pictorial. Our brains are like cartoonists - and cartoonists are like our brains, simplifying and exaggerating, subordinating facial detail to abstract comic concepts.

It's not surprising to see in my own work, looking back, and in the work of some of my peers, an attention to family. It's nice to write a book that does tend toward significance and meaning, and where else are you sure of finding it?

Imagine that human existence is defined by an Ache: the Ache of our not being, each of us, the center of the universe; of our desires forever outnumbering our means of satisfying them.

But as far as being popular, yeah, I think Dave Barry is really funny.

I really enjoy doing both, but I didn't write nonfiction until 1994.

I'd be surprised if non-fiction writers hate to be interviewed. We all hate them, because there's really nothing to say except "Read the book." Right? At least with non-fiction, you can kind of convey some information, and people can decide for themselves whether they want more of that kind of information. But with a novel, what am I going to do?