What's lucky about my career in general is that I stumbled into what every writer most wants. Not repeating myself and doing strange things has become my trademark.

I learned to write fiction the way I learned to read fiction - by skipping the parts that bored me.

Insomnia is a variant of Tourette's--the waking brain races, sampling the world after the world has turned away, touching it everywhere, refusing to settle, to join the collective nod. The insomniac brain is a sort of conspiracy theorist as well, believing too much in its own paranoiac importance--as though if it were to blink, then doze, the world might be overrun by some encroaching calamity, which its obsessive musings are somehow fending off.

Apparently Brooklyn needn't always push itself to be something else, something conscious and anxious, something pointed toward Manhattan.... Brooklyn might sometimes also be pleased, as here on Flatbush, to be its grubby, enduring self.

I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.

I keep one simple rule that I only move in one direction - I write the book straight through from beginning to end. By following time's arrow, I keep myself sane.