I'm interested in reality but I'm not interested in realism at all. I'm interested in the ways that I think people want to relate.

Any writer knows that what's left out is as essential, if not more so, than what's there. Unlearning works that way.

That's why our comics are important: they're pointing things out and laughing at the same time. There have been horrible, horrible times in history. They're mostly horrible times. But not to laugh? Not to find humor in something like dark optimism/bright pessimism - I think that's sad, frankly.

I don't have the education of an art historian. I've certainly read about art and look at art and have educated myself to some extent. But I'm not a skilled or thorough art historian and I wouldn't call myself an art critic.

I think political situations usually work their way into my writing, but not necessarily in an explicit way. The environment is so chaotic now. There is someone so entirely unreliable in charge, and reliable only in the fact that Thing - I don't say his name - is a pathological narcissist. He's going to do whatever he can to defend himself and whatever will make him look good. That's what matters to him.

I think the major device for me is that narrator's voice. I'm always trying to find a different kind of form to tell whatever story it is, and I wish that weren't so, because it drives me crazy.

I like to invent the dialogue that I want to have heard.