I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.

I was thinking, too, of Superman and his fortress of solitude.

Jerome Charyn is one of the most important writers in American literature and one of only three now writing whose work makes me truly happy to be a reader.

All male friendships are essentially quixotic: they last only so long as each man is willing to polish the shaving-bowl helmet, climb on his donkey, and ride off after the other in pursuit of illusive glory and questionable adventure.

See you in the funny papers," he said. Jaunty, he reminded himself; always jaunty. In my panache is their hope for salvation.

He is by nature a vegetarian but would never consider giving up meat.

There was a sort of irony in the fact that these [superhero] characters - many of whom in that period, the Golden Age, had been evolved to fight the Nazis - were themselves very much in the Nazi ideal. The idea that you can solve problems through physical strength, by being stronger and more dominant and more powerful - that is fascism. I mean, that's it, that's the essence of fascism. I don't think the creators of the superheroes or the kids who were reading them at the time were the slightest bit aware of it.