So much of the way books get classified has to do with marketing decisions. I think it's more useful to think of literary books and sci-fi/fantasy books as existing on a continuum.
I do think that I have a more flexible view of the interactions between people, and between human and non-human protagonists, humans and their landscapes.
And I do think that great fiction, even when it's comedic, has an urgency or an inevitability to it, a sense that the writer absolutely had to write this particular story in this way.
I had been eagerly waiting just such a disaster. Storms, wolves, snakebite, floods-these are the occasions to find out how your father sees you, how strong and necessary he thinks you are.
America's great talent, I think, is to generate desires that would never have occurred, natively,... and to make those desires so painfully real that money becomes a fiction, an imaginary means to some concrete end.
In a way, I think we all want to look to that journalistic voice as a kind of global omniscience, a big eye to correct for our own limited purview: "Here's a realistic accounting of the world in which we live."
It's funny to think about the uncanny reflexively, as an author who is perhaps gradually becoming aware of my own hidden secrets. Accessing that shadowy territory really requires the physical act of writing.
You don't want people to think you're just writing stories for children about a pig in a tutu.
But if you kept thinking about a fight you’d lost, Mom said, you were programming yourself to lose again.
I do think there's something when you have an unbroken day, and it feels like you and your attention can just be together like birds again and you can actually think and dream a little.