Discomfort is very much part of my master plan.
The book is openly a kind of spiritual autobiography, but the trick is that on any other level it's a kind of insane collage of fragments of memory.
I've had the odd good luck of starting slowly and building gradually, something few writers are allowed anymore. As a result I've seen each of my books called the breakthrough. And each was, in its way.
I try not to become too regular an addict of any one subculture.
What's lucky about my career in general is that I stumbled into what every writer most wants. Not repeating myself and doing strange things has become my trademark.
Comics? Honestly, that's more a matter of nostalgia for me. I think most of that energy has gone to my love of literature and my love of film.
I can't bear the silent ringing in my skull.
Nerds are just deep, and neurotic, fans. Needy fans. We're all nerds, on one subject or another.
I got into underground comics fairly early on and kind of wandered away from the superhero stuff, but I was an art student and I was drawing a lot as a kid.
I keep one simple rule that I only move in one direction - I write the book straight through from beginning to end. By following time's arrow, I keep myself sane.
The past is still visible. The buildings haven't changed, the layout of the streets hasn't changed. So memory is very available to me as I walk around.
Fantastic writing in English is kind of disreputable, but fantastic writing in translation is the summit.
I had always wanted to be a writer who confused genre boundaries and who was read in multiple contexts.
In my third novel there is an actual black hole that swallows everything you love.
I've never related to the work geek at all-it sounds much more horrible than nerd. Like a freak biting a chicken's head off in a sideshow.
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