I would not describe myself as a political writer except in the sense that the personal is political, which is something that I do strongly believe. And in that sense American Gods is a very personal novel and a political novel. I was trying to describe the experience of coming to America as an immigrant, the experience of watching the way that America tends to eat other cultures.

You're always you, and that don't change, and you're always changing, and there's nothing you can do about it.

It's not hard to own something. Or everything. You just have to know that it's yours, and then be willing to let it go.

One thing that's interesting to me is how we as humans seem to be losing our ability to stand still and be alone with our thoughts. If you want to, you have to arrange it now. You have to go off where there's no WiFi and leave your equipment behind, but still have some sort of GPS tracking to make sure you don't get lost or die.

You have to finish things - that's what you learn from, you learn by finishing things.

Everything has to be intrinsic plot-wise in the same way, to use the Linda Williams analogy but to move it on a bit, as musicals - in old musicals, like in an old Cole Porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. These days in most musicals, the plot keeps moving through the song. I think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.

We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.