I wrote some weird magical realism stories that are probably on some hard drive somewhere, and if I ever uncover that hard drive, I'll burn it. I tried to do a little bit of writing while I was in Iraq, but it wasn't the really greatest space for creative production.

Sin is a lonely thing, a worm wrapped around the soul, shielding it from love, from joy, from communion with fellow men and with God. The sense that I am alone, that none can hear me, none can understand, that no one answers my cries, it is a sickness over which, to borrow from Bernanos, “the vast tide of divine love, that sea of living, roaring flame which gave birth to all things, passes vainly.” Your job, it seems, would be to find a crack through which some sort of communication can be made, one soul to another.

There are two ways to tell the story. Funny or sad. Guys like it funny, with lots of gore and a grin on your face when you get to the end. Girls like it sad, with a thousand-yard stare out to the distance as you gaze upon the horrors of war they can't quite see. Either way, it's the same story.

I wrote some weird magical realism stories that are probably on some hard drive somewhere, and if I ever uncover that hard drive, I'll burn it. I tried to do a little bit of writing while I was in Iraq, but it wasn't the really greatest space for creative production.

I think in America, especially today, our relationship to war is incredible distant. Yet narratives of war have such a primal power in this culture. They mainline directly into a whole series of emotional reactions and understandings of American patriotism, masculinity, and all of these other things.

Writing fiction means putting a lot of what you believe about the world at risk, because you have to follow your characters.

Fiction offered me tools that allowed me to approach a wider variety of issues than the events of my own life would.