Being a teacher was the closest I could come to being an eternal student.
I felt hemmed in by prose and by the apparent obligation of things like syntax and punctuation to make sense of things, to construct hierarchies of thought and utterances.
A novel should be more than its page-by-page performance.
I wanted to write this book the same way you engage in a treasure hunt: discovering clues, then going back in time to connect them to something you found earlier.
Parkland happened, and we knew we couldn’t stay silent any longer.
Most of the concrete details incorporated in the poems are factually true, even though many of the characters/voices I’ve created are fictional and the comic book landscape of monsters, supervillains, and superheroes is frequently fantastic.
I do think it’s important for writers to help other writers. In no way is writing or publishing a zero-sum game or a competition.
“Seeing the evolution of Blood Meridian just reminds me of the value of the process: which involves drafting and revising, tinkering and experimenting, and for most writers, and certainly me, an unhurried attitude towards creative work.”
Genuine flash must be hard as diamonds, warm as poetry.
I found myself drawn to the idea of taking these big, comic book concepts and applying them to a quiet story about loss and the poison of nostalgia.