“I guess the lesson is you can’t go everywhere. You should still go everywhere you can.”

“I guess the lesson is you can’t go everywhere. You should still go everywhere you can.”

“I personally find that having a couple of projects going at once can be an aid to focus, refreshing my brain as I go back and forth between them – a book review and a novel at the same time, for example. But I’ve seen that writers who are starting out sometimes throw their energy in so many different directions that they can never finish any of the projects, much less all of them.To me a good test is this: what do you like to read? What kind of book moves and affects you the most? Is it the memoir, the novel, the long poem-collection? Personally, I find myself most immersed in the novel, and that’s why I write them – they have the most magic for me. The joy of self-expression is exhilarating, but ultimately choosing one venue for it can make your work much better – and same for your chances of actually finishing something.”

“I guess the lesson is you can’t go everywhere. You should still go everywhere you can.”

“Of course, that’s one of the dreams of modernist literature, whether realist or fantastic: that the more stories we tell each other about such tragedies, the fewer of them there will be. We’re still waiting for the results.”

“If there’s a single idea I emphasize when people ask about writing, it’s that there’s no right way to produce a book. But I do think that whatever you do, you should do regularly, whether it’s waking up at midnight and drinking vodka or waking up at dawn and drinking tea, whether it’s sitting in a monkish study or writing on the back of a flatbed truck. The analogy I like is children’s literature: in a lot of children’s books, there’s a huge institutional structure (Hogwarts, for example) whose presiding safety allows the children’s imagination to run free. The more consistent your habits are – and this ties into having your tools nailed down – the more secure your brain will be to run free and create.”

“The Bodleian above anything else made Oxford what it was . . . There was something incommunicably grand about it, something difficult to understand unless you had spent your evenings there or walked past it on the way to celebrate the boat race, a magic that came from ignoring it a thousand times a day and then noticing its overwhelming beauty when you came out of a tiny alley and it caught you unexpectedly. A library--it didn't sound like much, but it was what made Oxford itself. The greatest library in the world.”

“The river was glossy, narrow, and quick, a beautiful green color, with the white and maroon striped college punts strung along the near bank. .... The sun, westering, heavy, and hazy, was in those great final throes of energy before the sky whitens and clears, and evening comes. I stood and watched it. That immense body, dying trillions of feet away from me, still warming my face with its steady insensate chemistries.”

“If you look for endings you can always find one, but I truly felt as if I had used up the last of my youth, if youth is that finite stage of life when it all feels expeditionary, inexact.”

“When you're finally a grown-up, one of the things you find is that there are no grown-ups.”

“There's nowhere that life feels more eternal, your dimwit youth more important, than Paris.”

“The Thames was beautiful, dark, and swift beneath the billion yellow and white lights of the city…”