I always read the Latin American writers. I love so many of them: Gabriel García Márquez, José Donoso, Alejo Carpentier, Jorge Luis Borges, Clarice Lispector. I also love a lot of American experimental writers and surrealist European writers. But perhaps The Persian Book of Kings was the greatest influence - I encourage people to look at it. There is such a wealth of incredible stories.

It [9/11 tragedy] has affected us on so many levels: economically, morally, spiritually, ethically. It's been all over the place. A new American identity emerged - we now live in a very different America. This is the power of the definitive event.

There are so many reasons, but a big reason is that the literary world is simply too white. When there are more professors of color being employed by these institutions maybe there will be some change in the student populations.

Time kept on and on like the cheapest toilet paper.

The Illusionist is the storyteller in so many ways. Symbols become his obsession. It's not simply about creating plot - one must also grapple with theme. Nowadays we have a lot of characters and a lot of action but it's hard to sit still and really meditate on meaning, worldviews, concepts, ideologies even. I make my Illusionist do what I've had to do, often with copious amounts of stumbling and frustration. His real humanity comes from being an artist, I think - his creativity is what makes him a man.

It [9/11 tragedy] was the spectacle, what al-Qaeda gets its main power from - why their terrorism truly earns the word "acts." They are very theatrical, always - the simultaneous violence, the grandiose, symbolic gestures (the number 911, "United" and "American" flights, the World Trade as target etc). And then its aftermath.

I just see in pop culture, music, visual art, books, etc., a real hunger for the new and different, and I think that's amazing. Satisfying this hunger is part of the responsibility of a creative person.