I travel in gardens and bedrooms, basements and attics, around corners, through doorways and windows, along sidewalks, over carpets, down drainpipes, in the sky, with friends, lovers, children and heros; perceived, remembered, imagined, distorted and clarified.

Writing a novel is not so much a project as a journey, a voyage, an adventure.

I show up in my writing room at approximately 10 A.M. every morning without fail. Sometimes my muse sees fit to join me there and sometimes she doesn't, but she always knows where I'll be. She doesn't need to go hunting in the taverns or on the beach or drag the boulevard looking for me.

There's always the same amount of good luck and bad luck in the world. If one person doesn't get the bad luck, somebody else will have to get it in their place. There's always the same amount of good and evil, too. We can't eradicate evil, we can only evict it, force it to move across town. And when evil moves, some good always goes with it. But we can never alter the ratio of good to evil. All we can do is keep things stirred up so neither good nor evil solidifies. That's when things get scary. Life is like a stew, you have to stir it frequently, or all the scum rises to the top.

The pervasive brutality in current fiction - the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord - is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world.

We're our own dragons as well as our own heroes, and we have to rescue ourselves from ourselves.

In the beginning was the thing. And one thing led to another.