Everything's weird if you stare at it.

There is nothing quite like the controlled burn of Eugene Marten’s prose. Waste is an exhilarating and unnerving piece of fiction.

Stuff me in a tutu and let's screen experimental videos all day.

I felt as though I were snorting cocaine, or rappelling down a cliffside, or cliffsurfing off a cliff of pure cocaine.

I'd become one of those mistakes you sometimes find in an office, a not unpleasant but mostly unproductive presence bobbing along on the energy tides of others, a walking reminder of somebody's error in judgement.

One of my big revelations was that nobody cares whether you write your novel or not. They want you to be happy. Your parents want you to have health insurance. Your friends want you to be a good friend. But everyone’s thinking about their own problems and nobody wakes up in the morning thinking, ‘Boy, I sure hope Sam finishes that chapter and gets one step closer to his dream of being a working writer.’ Nobody does that. If you want to write, it has to come from you. If you don’t want to write, that’s great. Go do something else. That was a very liberating moment for me.

The place resembled a new model prison, or one that had achieved a provisional utopia after principled revolt, or maybe a homeless shelter for people with liberal arts degrees. The cages brought to mind those labs with their death-fuming vents near my college studio. These kids were part of some great experiment. It was maybe the same one in which I'd once been a subject. Unlike me, though, or the guinea pigs and hares, they were happy, or seemed happy, or were blogging about how they seemed happy.