To me experimental fiction ultimately is about the experiment and I'm not interested in experiments for their own sake.

The form is always integral to the expression of the theme or to the sheer telling of the story, and sometimes the right form is apparent to me from the outset and sometimes it isn't.

The material dictates the approach. I tell the stories in the way that feels natural to tell them. Certainly the last thing I want is to be "difficult."

Being a man of taste and sophistication, the 80s were objectively, quantifiably, empirically, diagram-it-on-a-blackboard the worst decade in the history of recorded music.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.

Certainly the last thing I want is to be "difficult."

I think for the foreseeable future we have to disabuse ourselves of any ideas of unifying, or coming together, or all getting along. I don't think we're going to reconcile the America that elected the first African American president with the America that just elected a president avidly endorsed by the Ku Klux Klan - I'm not sure I even want to reconcile the two.