In terms of America, I think any profound consideration is bound to return us to the notion of twins because, though you certainly can contend there are many Americas, our history has been binary from the beginning, with its hairline fracture down the country's center between what American has wanted to be and what America has been. That fracture is slavery, of course. To some extent it's still slavery, in that collectively we refuse to come to grips with the American fact of slavery.

Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.

By the plain form of my delirium I will blast the obstruction of every form around me into something barely called shadow. I sail. I swim to you. I know the water.

While a particularly deft sense of irony may be one of the tools of great storytellers, I think it's also true that if irony serves as a retreat from an emotional engagement that you're overly concerned is uncool, that's a failure of nerve.

These days in particular it seems not only unavoidable but even irresponsible to not acknowledge politics in some way.

The last thing I want is that sense of artifice - rather I want the reader drawn into the story and lost in it and vested in it. So the emotional connection is everything, albeit a connection on my terms.

Obviously cheap sentimentality isn't something any good novelist wants to traffic in, but I think it's a problem if you consider it to be the most egregious of all creative sins. I think it's a problem if you consider it the thing to be avoided at all cost. I think it's a problem of you're not willing to risk the consequences of that kind of emotionalism under any circumstances. Then you wind up in the cul-de-sac of irony.