“Among other things, autoimmune disorders are an induction into a world of unstable information and no reliable expertise.”

Fiction is too complicated and too elusive to break down into a set of tricks.

The context of what can be known establishes that love and indifference are forms of language, but the wise addition of punctuation allows us to believe that there are other harms – the dash gives the reader the clear signal they are coming.

A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.

Eventually you stop paying attention to your own feelings when there’s nothing to be done about them.

My first book, ‘The Age of Wire and String,’ came out in 1995, and it was hardly reviewed at all.

To refrain from storytelling is perhaps one of the highest forms of respect we can pay. Those people, with no stories to circle them, can die without being misunderstood.

I like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.

It’s lonely to listen to the pleasure of others, not that I’ve made a habit of that kind of eavesdropping. There’s joy and passion in the next room, in the next bed, but it’s not yours.

It amazes me that parents are allowed to raise kids. There’s so much power and often very little accountability.

I’m attracted to how fraught the parent-child relationship is, swerving so easily between love and hostility, with almost no plausible way to end, unless someone dies.

In some sense, prose fiction is just a way of unlocking a space. If I can unlock the space, it comes out and it’s vivid, I find that I care about it, and it’s part of me.

I work, and then I leave the office, and I’m with my kids and just sort of enjoy them on a visceral level, and I don’t feel like I’m exorcising my own deep ideas about parenthood and about how my life will come into play in my work.

In certain strains of Judaism, there’s a profound passion for the ineffable. Contemplation of God is meant to be forever elusive, because, you know, our tiny minds can’t possibly comprehend Him. If we find ourselves comprehending Him, then we can be sure we’re off track.

To me one of the amazing technologies of writing is the way it can listen in on thoughts. I don’t feel that that’s natural to other art forms in the same way.

Slamming the book shut produces a wind on the face, a weather that is copyrighted by the author, and this wind may not be deployed without permission, nor may the pages be turned without express written permission.

Mostly we’re motivated to control ourselves in public. Mostly. At home the motivation is much less clear. At home there’s a bit of a lab for bad behavior.