By examining characters lighting the way to hell, as it were, are readers spared iniquity? Are stories a heeded warning, or merely an entertainment? Each story in the collection tries to wrestle with these questions.

I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?

Hardcover and paperback forever. Someone carve that into a tree.

You know, as I've grown older, my ideas about sin have changed. I used to believe that sins were things you did, but I don't think that now. I think sins are what you ignore.

I can't imagine turning into one of those codgers who no longer reads fiction. I'm regularly stirred by it and suffer no anxiety of influence. Influence me! That was my credo then, as I was developing and learning, and remains so now, as I'm developing and learning.

I became a writer through drawing first and then a comic book obsession - Marvel Comics, in particular. I invented a world of superheroes starting in third grade with my classmate, Wai-Kwan Wong. In a classroom of forty kids, let's just say there was a lot of undirected time. But this was good because I was a dreamy boy.

There was a long stint during my childhood after I gave up on being a pro football player - were talking sixth grade here - that I strongly considered a future writing and drawing comic books. I have been making stuff up ever since.

Simply put, you can read a story in a single sitting and hold it all in your mind. You can experience all of its rhythms, beginning to end, during that span. Consequently it has, I think, greater emotional power than a novel because of this real-time effect. Stories can stun you.

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

People think of travel, of movement, as a kind of reprieve from life. But they're wrong. Movement isn't a reprieve. There is no reprieve. Movement is our permanent state.

Perhaps it's simply the dual nature of marriage, the proximity of violence and love.

Once when I went over my work with my Washington University professor, the late great Stanley Elkin, he pointed to a passage of mine and said: Stop vamping. It has remained a caution.