Once someone gets a little escape velocity going, ain't no play in the world that will keep them from leaving.

In my mind what novels do best is that they immerse us deeply into our character's world - they truly transport us deep into these spaces - but the same way you know a Hollywood movie won't end after thirty minutes, you carry in yourself the implicit contract that the novel won't throw you out of itself 'til the very end. That bulk of pages is a form of consolation, of security.

As an artist you're on a journey of discovery and sometimes that journey takes a long time, doesn't subscribe to [a] train schedule, to the punch-clock. And I need to read a lot to make my pages happen.

The only difference between a published and unpublished writer is a tolerance for imperfection.

There's nothing more true in being a child of a diaspora, a child of immigrants. We're completely new to our parents. We're not something they can ever understand. And it's not as if we are ever going to be accepted. We're accepted as long as we conform to what we are expected to be, and I'm sure that's not any different for anyone else.

That was the summer when everything we would become was hovering just over our heads.

Part of it is eight years of a black president, and white America still lost their [minds] about that. Part of it is a Republican politics of vicious, vicious partisan [stuff] that has completely poisoned what we would call the political rhetorical sphere. All of these things come together in a perfect storm.