“I took two fiction-writing courses in college and majored in literature. I felt that I had a knack though I wouldn’t go so far as to call it a talent. But it scared me. I felt it was a childish thing wanting to write and that I would forget about it eventually.”

From about the age of 15 or 16 I’d had the notion that I wanted to write fiction, and I’d done enough in college to satisfy myself that I had a knack for it – I wouldn’t call it “talent” – though I wondered if I’d ever have the guts to actually commit to it.

I got brilliant stories from people who’d never set foot in an MFA program and had published very little, and terrible stories from people who’d published a lot and had all the credentials. It was all over the map and that was part of the fun.

If you want to write, then write; if you don’t want to write, then don’t write. I fell into the former category, and I just made the decision that I’d keep on because I liked it and might someday do something decent.

At a certain point I decided to keep on because I felt like the work was getting better, and I was taking great pleasure in that.

I kept going back while I was writing the novel – which never sold, may it rest in peace – and by the time it was finished I had too many connections to Haiti to walk away.

Somewhere along the way America became a giant mall with a country attached.

Haiti is unique – the first successful slave revolt in history, the first black republic etc., and then when you get into the culture, the voodoo, and that wonderful synchretization of Christian and African belief and symbology, it’s like nothing the world has ever seen.

It’s amazing what happens when you stick yourself in a place and let things take their more or less natural course.

Eruptions of talent continue to happen in Haiti, in spite of everything.

The Kessler Theater is one such gem, an Art Deco beauty … for a slice of real life, there’s always the Kessler.

I really had to decide why I was writing. I had no interest in going back to law; I very briefly – for about six hours – considered going to get my MBA, but in the end, I realized that the only work I really wanted to do was write.

I started publishing stories in small magazines early on, but after seven or eight or nine years you feel like you need a little more than that to show for your efforts.

I think if you spend much time dwelling on influence you can get self-conscious about every line you write. That’s a great way to freeze up.

I thought when I started writing that I’d have a book out in four or five years, and as it became apparent that that wasn’t going to happen, I became increasingly frustrated and unsure of myself.

I realized I was never going to have any peace with myself unless I made an honest stab at trying to write.

Maybe the light’s at the other end of the tunnel.

Two races we’ve lost which I’m genuinely upset about were India and Turkey.

When you say, “there’s no reason [to hit a woman]” that kills any examination as to how two people ended up at that place. When you say, “there’s no reason,” you cut out the build-up and you’re just left with the act. How you gonna solve it if you don’t figure it out?

Im also performing regularly in Southern California with two bands. As a solo artist doing acoustic sets and a member of the Jenerators, my rock n roll band that has been around for a long time now.

There are two ways to make someone important in our lives … we can either love them or hate them.

I hit two trees and fell down a ditch. And that was just walking from the lodge.

I’m a line-maker. I think that’s what makes poets different from prose-writers. That’s the main way. We think, not just in sentences the way prose writers do but also in lines. So we’re doing these two things at the same time.

A cough so robust that I tapped into two new seams of phlegm.

I wouldn’t change what happened to me because then I wouldn’t have this chance, in front of all of you, to embrace more people than I ever could have with two arms.