I do think that I have a more flexible view of the interactions between people, and between human and non-human protagonists, humans and their landscapes.

There are certain prehistoric things that swim beyond extinction.

I often felt myself to be an outsider, which is great training for all writers.

My fingers curl through the holes in the wicker, through the wet grass beneath it, trying to hold tight to the sharp blades of the present. Somewhere in my brain a sinkhole is bubbling over, and each bubble contains a scene from a tiny sunken world ... I have never been the prophet of my own past before. It makes me wonder how the healthy dreamers can bear to sleep at all, if sleep means that you have to peer into that sinkhole by yourself. ... I had almost forgotten this occipital sorrow, the way you are so alone with the things you see in dreams.

My mom says I'm destined to be the sort of man who uses big words but pronounces them incorrectly.

Whenever someone asks me about fantasy versus realism, I'm like, "I don't know, guys. Did we not all just descend into some underworld, watch strangers from our past kaleidoscope through us according to some pattern that is both illogical and has its own strange melting truth, and then wake up and have a Pop-Tart?" Why are we talking about fantasy and reality like they're opposed?

Growing up, Catholic church really was such an incubator for my imagination, because all of those mysteries felt embedded in this insanely green, tropical landscape: the ocean nearby, the giant banyan trees. It all felt part of one seamless mystery to me.