I think we can borrow a lot from the semiotics and nuances of film. The tension created by the act of interpretation is a cinematic exercise.
Unlike other genres (think sonnet; think most film), [the novel] is a genre that doesn’t really know what it is and yet is committed to finding out, that is always trying to figure and break out of its own generic constraints.
I always begin my day with 20-30 minutes of freewriting.
It’s a laugh, but not so funny these days when an algorithm designed by an invisible hand can decide whether someone goes home or stays in jail. For the characters in my book, false narratives can be deadly.
The 80s are often labeled an age of optimism, but the reality of a troubled and violent world still persists, so in many ways our optimism was misplaced.
I trust that the words will come.
I think it’s a great honor to be part of a new and thriving literary movement.
I write about the things that keep me up at night.
I think it’s better to focus on the process of making the poem, rather than the end result.
I’m less interested in the question of what defines poetry versus prose and more interested in why we have certain assumptions about what fiction is