The seams, the laminae between the various worlds the past present and future as well as the living and the nonliving may not be as distinct and clear-cut as we have been taught or as our somewhat arbitrary clocks and calendars have led us to believe.

The seams, the laminae between the various worlds the past present and future as well as the living and the nonliving may not be as distinct and clear-cut as we have been taught or as our somewhat arbitrary clocks and calendars have led us to believe.

Write every day. Don't ever stop. If you are unpublished, enjoy the act of writing—and if you are published, keep enjoying the act of writing. Don't become self-satisfied, don't stop moving ahead, growing, making it new. The stakes are high. Why else would we write?

The future's so random, and so mobile, there's no way you're going to get to your vision of what you want your community to be just by chance alone. I really believe you have to let people know, to use your voice, to say, 'this is what I like about my place, I want to keep it this way, this is what I think can be improved, this is what I disapprove of.' That's the only way you can have a part in shaping the future.

I don't think I'm a natural novelist. Plot is definitely one of my weaker points. I've been working on it a long time, and it's not getting much better.

Even the largest of my dreams and ambitions, I realize with increasing dismay, were puny, measly, compared to the object of my dreaming. I would not say my life to date has been built overmuch of compromise, but still, it surrounds me.

The Ploughmen is part inspired fever-dream, part adventure story, a lyric parable of not just goodand evil but of the vast and beautiful and often lonely country in-between. Kim Zupan is a wonder.