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People - me included - want to get excited about books. Good books are a good thing.
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I started thinking about the endings of novels not because I think endings are so important, but because I think they're actually not as important as they're sometimes given credit for.
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Being a writer can be isolating. It's good to be among readers and booksellers.
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I've only read three books by Stephen King. When I was 10 I read 'The Long Walk,' one of his pseudonymous Bachman books. In my early 20s, while trapped on a family vacation, I read 'The Dark Half,' which taught me a word I have never forgotten: psychopomp. Now I have read '11/22/63.'
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Even though I have spent literally years of my life trying to learn another language, any other language - and even though I have in the past claimed in several key professional contexts that I speak other languages - I am in fact still trapped inside the bubble of English.
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When I left college I thought - based on a staggeringly inadequate understanding of how the world worked - that I might like to go into book publishing.
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I think every fantasy reader secretly believes they know how magic works.
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It's a terrible thing for a book, when you feel like you're supposed to like it.
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A lot of young-adult authors, great ones, have tried their hands at literary fiction, and not a lot of them have succeeded. Not even Roald Dahl could switch-hit, and not for lack of trying.
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I've read plenty of J.G. Ballard, but I'm not really a Ballardian. I've met Ballardians, and I know when I can't compete. I like Ballard in his relatively unchallenging apocalyptic mode: 'Vermilion Sands,' 'The Drowned World,' 'The Burning World,' 'The Crystal World.'
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I read a lot of literary theory when I was in graduate school, especially about novels, and the best book I ever read about endings was Peter Brooks' 'Reading for the Plot. '