For me the question that you have to ask, about any magazine, is whether it's needed, whether it's publishing things that no one else could publish, or publish equally well. So there's that.

It used to be that you would go into a writing program and what you would learn was how to write a short story. You would pick up the magazines and you would be taught from the magazines how to write a short story. Nowadays student writers are learning to write novels because that market is gone, so the ones who are drawn to the form are doing it really for reasons of their own and that's really exciting.

The real threat to reading isn’t the time we spend hanging out, it’s the time we spend online.

Chekhov's stories are about the moment that a life goes off the rails and the price that will be paid - forever. That's a typical Chekhov story for you. Something that you're used to lying in bed worrying about at four in the morning, before you have the psychic defenses to kid yourself and tell yourself to get up and shower and go to the office.

If I could change the attitude of young men toward literature, I would want them to read not just for escape, but because literature can be more truthful about things like sex, commitment, and aging. It can be more truthful about the stuff that our parents lied to us (and themselves) about, and the stuff that everyone has to lie about. It can all be dealt with truthfully in fiction and poetry.

We've never had a giant circulation. And we've always been a magazine for writers and for sophisticated readers. We've never had to run stories that would appeal to a million people. And what you end up with is a kind of tradition that might have staying power - the cockroach after armageddon.

I’m a reader who uses fiction as a way of worrying about life.