[laughter] If I said yes, I would be lying. I can’t say. As an editor, I do a lot of book-buying. Like, “Did you check this out? This book is good.” And I do it every year. Not on the orders of a book person, but on the orders of every single person I meet. I say hello to people. I tell them about what I’m reading, what I feel is interesting. What I think can do the work, what’s been written recently from the world of fiction. Even before I met you and got to know you, I’d already read a lot of your novels. It was a bit hard to tell where to put it. And you weren’t always clear when to read. I never saw you read it. Maybe it was a moment in your life where you felt like it was right for you.
That’s interesting. In some ways, I’m looking at your writing as an exercise in self-examination. It’s such a deeply personal thing, but it’s also an exercise in trying to understand the complexity. I don’t know if you can take away from the experience the idea that I read your books too quickly. I think that’s what’s so interesting – that it’s so individual.
I mean, I have a book with a short story called “In the City of New Orleans,” which is, like, a little bit like “The King in Yellow.” Or sometimes you get something like “The Little Prince of the World.” They’re all different books. “Pale Fire” is one of my favorites. I mean, all these novels, I’m a lifelong fan.
And as an author?
I just thought, “Why not just do an entire novel?” I mean, I’m only doing four or five parts so far. And it’s got to tell a proper story. So I was never doing an autobiography. I didn’t feel like it might be the right time to be doing an autobiographical movie. But I liked the fact that you could go from, “This is such a good story. I like this protagonist,” to, “I want to read him again.”
But to some degree your stories have become more about the characters. Do you think there’s something more to your writing that you’re hiding?
I think, in a way, sometimes I’m doing it subconsciously. When you’re doing a short story, and you
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