The persona in my stories may be truer to my "real" self than any alleged objective, factual "I" that I could replicate for the purposes of storytelling.

Each piece of writing I undertake, whether a story, novel, play, or poem, begins with an image.

Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.

The persona in my stories may be truer to my "real" self than any alleged objective, factual "I" that I could replicate for the purposes of storytelling.

Emotional, physical, and spiritual estrangement and ontological and religious doubt inform my personality, my thoughts, and my characters, which are, more often than not, masks for my own being and my being in the world - a world that frightens me insofar as I don't understand it.

I do seem to favor a deathbed confession as the occasion for my dramatic monologues.

My fictional worlds were those of a fabulist, of an intellectual fantasist. I was the lawgiver, and the countries and inhabitants of my imagination were answerable to me. If I wished for a man to levitate; to enter another's story by rowboat or by intoning a sentence or by performing a shadow-puppet play; if I wanted him to become a swarm of intelligent elementary particles and enter the Internet and travel into the past and far into the future, it was so.