I grew up in Swaledale, in Iowa. Its population was 220 when I was growing up, and it's probably 150 now. I lived in town and sometimes worked on the farms outside of town in the summers.

The past has an undeniable grip on everyone, except, perhaps, amnesiacs.

I tend to write about towns because that's what I remember best. You can put a boundary on the number of characters you insert into a small town. I tend to create a lot of characters, so this is a sort of restraint on the character building I do for a novel.

I don't think of my characters as bumbling. I think that trouble is what drives a novel, both big troubles and small troubles, and whatever people try to do in life, there are a series of stumbling-blocks in the way, and I think that makes for interesting reading. I think of them as doing their best with the roadblocks that they're given.

Writing changed my life. It has an existential dimension, and that's the same for every writer. Every artist has a moment of awakening, of happening upon an idea that grabs hold of you, regardless of whether you are a painter or a writer.

Poetry privileges music and is aesthetically more challenging. Prose privileges information and is emotionally more challenging.

Simply, the majority of the most interesting filmmakers are the ones confronted with difficult situations. Their creativity blows a hole in the wall and lets in the light.

I liked to write from the time I was about 12 or 13. I loved to read. And since I only spoke to my brother, I would write down my thoughts. And I think I wrote some of the worst poetry west of the Rockies. But by the time I was in my 20s, I found myself writing little essays and more poetry - writing at writing.