I think that I've always written about things that are very personal, but initially, I coded everything. I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there for me. I knew where the magnets were, behind the gyprock, and the magnets were very powerful. I think they had to be powerful for me, otherwise the reader wouldn't have a reciprocal experience.

Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.

I'm not a very intentional writer. I try to be as unintentional as possible. What I basically try to do is invite the zeitgeist in to tea.

The culture is still there, and people are still doing it. I imagine some people are doing it very well indeed. As for me, it definitely was my native literary culture. Science fiction was where I'm from, but on the way to now, I went through a lot of other territory, and I wasn't really that culturally conventional an SF writer when I started.

That's something that tends to happen with new technologies generally: The most interesting applications turn up on a battlefield, or in a gallery.

There's violence in my culture [from America's South].

A book exists at the intersection of the author's subconscious and the reader's response.