I think I've always been drawn to the second person. When I was growing up and playing with my friends, the usual way we interacted with imaginary worlds was as characters: a bench was 'your' boat, leaves on a lawn were the fins of sharks out to get 'you.'

I take six or seven years to write really small books. There is a kind of aesthetic of leanness, of brevity.

I was 30 when 9/11 happened and I had lived exactly 15 years of life in America, so I was half American. I was a full-fledged New Yorker.

As a society, you were unwilling to reflect upon the shared pain that united you with those who attacked you. You retreated into myths of your own difference, assumptions of your own superiority. And you acted out these beliefs on the stage of the world, so that the entire planet was rocked by the repercussions of your tantrums, not least my family, now facing war thousands of miles away.

If it takes you seven years to write each novel, you need a patron. And I would rather have my corporate self as my patron than any arts council or bestower of grants.

My aunt used to say, "It's between me and my god; it's got nothing to do with you." It was a good enough answer for me as a snot-nosed college kid angling for a religious debate, and I still think it's a good way of putting it.

Many boys, probably most boys, have a first love before they fall in love with a woman. It begins the moment two boys realize they'd die for one another, that each cares more for the other than he does for himself, and it lasts usually until a second love comes on the scene, because most hearts aren't big enough to love more than one person like that.