As to the "traditional filler of twenty-first century realist fiction," maybe that is something I avoid. I don't relate to standard psychologizing in novels. I don't really believe that the backstory is the story you need. And I don't believe it's more like life to get it - the buildup of "character" through psychological and family history, the whole idea of "knowing what the character wants." People in real life so often do not know what they want. People trick themselves, lie to themselves, fool themselves. It's called survival, and self-mythology.

I am not a sun person at all. I think it's a cancerous poison and I don't want it touching me.

I don't really have those kinds of intentions when I write a scene. I try to follow the internal logic of the fiction, rather than make an argument or an assertion.

I’d been listening to men talk since I arrived in New York City. That’s what men like to do. Talk. Profess like experts. When one finally came along who didn’t say much, I listened.

Danzon is my favorite Cuban music, played by a traditional string orchestra with flute and piano. It's very formally structured but romantic music, which derives from the French-Haitian contradance.

The VW doesn’t make you think of Hitler and genocide. It’s a breast on wheels, a puffy little dream.

L.A. is a great place to write because you have a lot of space. I have a big office at home, I can leave the doors open. Flowers bloom all year. But it's unglamorous in all the right ways.