American - Author | May 24, 1963 -
I was surprised that my wife thought it was a good idea, then again with my agent, another woman, then my editor, another woman - in spite of the fact that all three of them reacted positively I still have this fear.
Michael Chabon
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Comic books were just the means for me to tell the story.
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I remember tearing up the first time I read Nabokov's description, in 'Speak, Memory,' of his father being tossed on a blanket by cheering muzhiks, with its astonishingly subtle foreshadowing of grief and mourning.
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I am a huge, raving fan of writer Matt Fraction. His semi-indie 'Casanova' series is an ongoing masterpiece of 21st-century American comics - and his run on 'Immortal Iron Fist' with Ed Brubaker was pure, yummy martial-arts-fantasy deliciousness.
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God, I just love 'A Journey to the End of the Millennium,' by A. B. Yehoshua. My favorite novel by an American Jew is probably 'Humboldt's Gift.'
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I abandoned my second novel completely. Writing 'Kavalier & Clay,' I had several moments of utter collapse. Same with 'The Yiddish Policemen's Union.'
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I work at night, starting at around 10 o'clock and working until 2 or 3 in the morning. I do that usually five days a week. In Berkeley, I have an office behind our house that I share with my wife, who works more in the daytime.
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Ideas are the easy part. I spend a lot of time batting them away, trying to keep them from distracting me from what I actually have to focus on and finish. A lot of times, they are a siren temptress beckoning me with the promise of a much shorter, simpler, more slender novel over the horizon, but of course that's very dangerous.
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It's always thrilling to encounter the sweep of time in a work of fiction in a way that feels authentic and real.
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I grew up in Columbia, Maryland, a planned community built during the sixties. During the early years, it was very integrated. I grew up being taught by black teachers with black principals and vice principals and, you know, a lot of black friends. We played in mixed groups, and I kind of thought that was how it was.
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I'm a big fan of Tarantino's work, and I think I'm fascinated by his evident sense of entitlement to use black characters and black material that he feels not simply comfortable with, but that it's his right and privilege - the apparent ease with which he handles black characters, fully aware that he's been criticized for that, too.
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Nothing ever comes out the way I hope it will. That first vision, that initial vision you have of a book, what it's going to be like when it's done, it begins to go wrong the second you start to write.
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