As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.

In truth, even if they have an imperfect insight into their own methods, I still slightly mistrust writers of fiction who are assured literary critics; it makes me suspect that they favour the word over the world it should describe. Such scribes fall victim too easily to the solecism of equating style with morality.

My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.

Certainly, for time out of mind, an obsessive dwelling on happier former days has been synonymous with getting older, while it was the juvenescent who rushed with open arms to embrace the future.

The biggest misconception in the hip-hop industry is that people are only focused on the money. We should just be happy for everybody that is working in the hip-hop culture.

If I could only get people to rub my belly for good lucky and then throw money in my fountain, it'd be a perfect world.

There's a confusing message that we're sending people now, that lots of money can made off of simply having a lot of followers and having no discernible skills or talents. I don't know if I'm in a minority or if it's just a guilty pleasure for people, but I think the preponderance of reality shows is of great detriment to human beings.

It's fun to have money, but the more money I get, the less interesting it becomes. If you don't have very much, you have to think about it. If you are starving, you become interested in food. If you are struggling to pay the bills, money becomes tragically important.