Comedy has traditionally been about fear of embarrassment.

My story follows a very classic tragic paradigm in which you learn things too late for them to be of any use, and by keeping silent about the thing that you're terrified of, you bring it about - and even worse.

There is something to be said for the openness to form, and literary form because it forces you to actually think about the other person, and their motivations, and to try to see them from all sides and to really write about them not as caricature.

Thomas Mann used to write education novels and now you can write an education memoir, and there are all these memoirs coming out now about people's relationships with books. Like anything else, these can be good or bad. The genre doesn't make it good or bad, it's the execution.

There are people who are very good at disconnecting themselves and becoming other people, and separating from their family lives and going on. They change their names, they become someone else entirely, maybe out west.

The contemporary memoir is playing an important role in at least just bringing certain relationships out into the open in American society, and also it's a place where the novel of development, the novel of consciousness, has gone.

I really wanted to get out of that cycle in our family where somebody's taking revenge on somebody for some slight that happened thirty years ago, and the only way to assert one's existence is by climbing over the body of an unfortunate sibling, or with a fellow family member, and you end up even unconsciously rejoicing in the other person's unhappiness and being like, I am happy because I can see how unhappy these other people are.