“...when you’re property-hunting and you’re running out of patience it’s easy to make bad decisions. New York in particular has a way of making people twist reality in their heads. Who cares if the apartment is beneath a flamenco studio? I’ll get used to the noise! Yeah, I know the whole apartment has only one window facing a brick wall, but I’m never at home during the day.”

“The problem is that when you’re not fighting for survival, it’s easy to stop making decisions and fall into the trap of thinking you don’t have to. Ambivalence is a luxury; thinking you can have it both ways is virtually synonymous with being spoiled.”

“Forgetting what it’s like to suffer can be a good thing, since suffering can make people too cutthroat for society’s good. But suffering also breeds certain capacities that are easily lost, such as the ability to focus and a willingness to engage with conflict.”

“One brick is not a wall. Unless you’re an ant, and then it’s not only a wall, it’s a building—a building that has no doors, windows, or people in the form of managers that I’d like to smash in the face with a building (or a brick).
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“Who is setting the bar for what you call accessibility? The definition of “accessible” is “easy to understand,” and so much of the fiction I love is just… not that. It is complex and rich and sometimes puzzling, and it stays with me precisely because I can’t quite wrap my head around it. Sometimes it is lucid and approachable on the surface, and other times the language is congested in order to fire up strong sensations. Accessibility is such a strange, sad measure of the writing I love. Dora the Explorer is accessible. The Unconsoled is not. But I have never been deliberately difficult, if that’s what you’re getting at. That has no appeal to me. I’ve always tried to write the fiction that compels me the most — I have to feel passionate, engaged, and nearly desperate if I’m going to get anything done. When I’m working on material that is conceptual or abstract or in some way difficult, I strive for clarity, transparency, a vivid attack.”

“When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.”

“All in all, Tolkien fans are as varied, remarkable and marvelous as the books and the worlds that they share. They make me feel a little like a Hobbit who glimpses colourful strangers passing but has never left the Shire.”