I know what it's like to go very fast on motorcycles. Those moments, they stay with you.

Citizenship and ethnicity can become, in certain contexts, restrictive, and perhaps that's one reason I was interested in people who feel compelled to mask their origins and thereby circumvent the restrictions.

I don't really know what the Great American Novel is. I like the idea that there could be one now, and I wouldn't object if someone thought it was mine, but I don't claim to have written that - I just wrote my book.

Art is about play and about transcendent meanings, not reducible to politics.

I am just getting into Zora Neale Hurston, who is possibly a much better writer than the critics and rivals who tried to erase her from history, resulting in a life in which she worked as a maid and died in a welfare nursing home. She's clever. She does something modern to the sentence.

I like to read novels where the author seems knowledgeable, like someone you know you could walk calmly next to through a complicated situation, and he or she would be alive to its meaning and ironies. And you wouldn't even have to mention them out loud to each other.

I am a rereader. Quality is variety if you wait long enough. Barthes, Baudelaire, Benjamin, Celine, Duras, Faulkner, Fitzgerald, Melville: There is so much to revisit. 'Ingrid Caven,' by Jean-Jacques Schuhl, is always in rotation. I used to read 'Morvern Callar,' by Alan Warner, every year - I adored that book.

I write the novels that are possible for me to write, not that ones I think will come across in a certain light.

I got all my politics and culture and my sense of the great wide world of adults from 'Mad Magazine.' But all other comic books literally gave me a headache.

I think the art world heightens the intensity of desires for inclusion, and the humiliations of exclusion, which is why it's a great place to circulate when you are in the lucky position, as I am, of not wanting or needing anything from anyone.

In fiction, there happens to be a long history of creative engagement with marginality, with the very human components of society that others don't want to think about, from writers such as Dostoyevsky, Baudelaire, and Rimbaud to Genet and Sarrazin and right on up to Norman Mailer.

My dad had a Vincent Black Shadow, which was a quite particular thing: it was the fastest cycle of its era... It sparked a world for me; when I was old enough, I got a motorcycle.

I have to arrange my life very carefully. I need eight hours' sleep to work.

I like Baudelaire's sentences quite a lot. I read and re-read him very often.

Flamethrowers have been used by many armies in many wars, including by American Marines in Korea and Vietnam. They cause horrific deaths and are thus a serious public-relations liability. The U.S. military apparently phased them out in 1978.

Art breathes into life a surplus that is both vital and extraordinary.

Eventually, I grew out of my interest in motorcycles because they're quite dangerous. I don't ride them anymore. But I have this history.

I spent ten years riding motorcycles.

'Blood Meridian' was without question the novel that made me want to become a writer.

It's no secret that Cuba is a typical Latin American culture in that it has a fair amount of homophobia. Homosexuals have been notoriously persecuted under Fidel's government.

I don't believe that intelligence can be reduced to a number, frankly. But I can see how doing exactly that produces a useful sorting mechanism in our society in order to separate children into categories of promising and doomed. The tests seem arbitrary and without real scientific value and yet have lasting consequences.

It's a cliche, and in a way it's a conservative idea about fiction, but I did learn the hard way that plot does need to dictate the story.

I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?

I have crashed on a motorcycle that was going at 140mph, so I know what it feels like.

I have spent a lot of time in the art world, and I guess I do listen to how people speak. I'm interested in what they say and how they say it.

Telluride has an incredible history and reputation, and I've long known of it as a unique entity that makes a place for writers - one more aspect of this exceptional film festival in the Colorado Alps.

Proust is a huge author for me.

If a writer is always trying to keep a narrator emitting a tone of complete knowingness, it can become false.

There were people in Cuba who truly had substantial things to gain from revolution. There were people who had things to lose in the revolution. I think they're all allowed to have their memories of what happened.

I spent a huge amount of time by myself. I daydreamed and learned how to be alone and not be lonely.

Like most writers, I've read a lot of Hemingway, and I admire him greatly.

The great thing about writing is that it has to work without that invisible layer of the reader's added knowledge.

I don't start with a list of historical scenes that I want to include in the book. At a certain point, the narrative totally takes over, and everything that I include I can only incorporate if it answers to the internal terms of the novel.

One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.

My mother told me many stories about her childhood in Cuba. Living there had a profound impact on her and how she regards herself.

I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.

When I see things in the world that leap out at me, I want to make use of them in fiction. Maybe every writer does that. It just depends on what you claim or appropriate as yours.

I guess I'm not really fond of just chit-chatting. I want to learn something and have an experience.

A lot of politics in art is just institutional critique, which, in my opinion, is not all that political.

I am occasionally enraptured by Western landscape. But I don't identify that state of mind as having to do with my own origins, having grown up in the West, although I certainly crisscrossed Nevada countless times growing up, and then as a young adult, in cars and on motorcycles.

I'm a very interior person. I love silence. I revel in it. I'm happy that way.

I was very precocious when I was young. I went to college at 16, and I graduated at 20. I wanted to be a writer, but I was more interested in experience than in applying myself intellectually.

I didn't do a masters in creative writing until I was 26, which is quite old, and then I found myself in New York and I needed money, so I started working full time as an editor.

Eventually, I decided that if I was going to really write a novel, I couldn't do it in New York City while holding down a job. You need a constant money source to live in New York City unless you're independently wealthy, which I'm not.

L.A. is a great place to write because you have a lot of space. I have a big office at home, I can leave the doors open. Flowers bloom all year. But it's unglamorous in all the right ways.

I am not a sun person at all. I think it's a cancerous poison and I don't want it touching me.

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.

Writing a first novel was an arduous crash course. I learned so much in the six years it took me to write it, mostly technical things pertaining to craft.

Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.

I know there are writers who like to say that every novel is hard, and it doesn't get easier. That may be the case, and I've only written two. But the first, to me, was characterized by an enduring oscillation between perseverance and a profound doubt.