“now it becomes clear that he's one of those people who is fastidious about his personal appearance but secretly skivenly about everything else”

“[Who are the artists you admire, Surrealist or otherwise?]Remedios Varo, Max Ernst, Charlotte Salomon, Goya, Aubrey Beardsley. Beardsley is not so much about the impossible as he is about freaks and deformities, but those are interesting to me too.”

“Everything seems simple until you think about it. Why is love intensified by absence?”

“I think that a lot of people have a longing to move out of the present. The present is very constricting. You can’t go back to your past, you can’t go ahead to see what’s in your future, so you have to put up with whatever is here now. People have a deep longing to think about something else and move into a fictional world and also to feel there are other possibilities than just everyday reality. I don’t think time travel is actually possible, but as a metaphor it is interesting.”

“He looks sad. Or maybe that's just how he looks when he isn't doing something else with his face.”

“The compelling thing about making art - or making anything, I suppose - is the moment when the vaporous, insubstantial idea becomes a solid there, a thing, a substance in a world of substances.”

“When I began writing The Night Bookmobile, it was a story about a woman's secret life as a reader. As I worked it also became a story about the claims that books place on their readers, the imbalance between our inner and outer lives, a cautionary tale of the seductions of the written word. It became a vision of the afterlife as a library, of heaven as a funky old camper filled with everything you've ever read. What is this heaven? What is it we desire from the hours, weeks, lifetimes we devote to books? What would you sacrifice to sit in that comfy chair with perfect light for an afternoon in eternity, reading the perfect book, forever?”