I don't think that brutality and idealism are mutually exclusive. It's a common denominator in my work - rabid idealism.

I've been in the art world for many years. But the sad fact is that most writers are visually prepubescent. Generally speaking, the literary world is provincial when it comes to matters of art. And it always has been.

If there is anything unique about my writing it is the way that I combine poetry and prose, not just on the level of having a poem here, prose there, but that it really is a true amalgam.

I have a strong spiritual commitment, and I try to express that in my work. Salvation cannot be worked out in human terms. The point of my writing is to touch upon the systematics of prayer and on how we arrive at a method of achieving spiritual coherence in our lives.

I think that life is incredibly violent and that individual people are incredibly violent on one level or another. I don't try to change life to suit my writing in a certain way I'm a naturalist of the nineteenth century school.

I write about life as it exists within houses and on the streets. And there's nothing, hopefully, in any of my characterizations or in any of my plottings or in any of my valuations that doesn't ring true to life. I'm a novelist. I'm not a theoretician.

Salvation is an individual relationship with God. I've always considered myself to be a devotional poet, and I consider myself to be a devotional novelist.

I think not in two or three dimensional terms but in five dimensional terms when I consider a novel. There's height, width, and depth, there's the time factor, and then there's the factor which I call the cerebral factor of the reader, the way the reader adjusts to all the other dimensions, which is the fifth dimension.

My books are not about different components that fit together like pieces in a jigsaw puzzle, it's about creating the space around the components, which is almost as important as the components themselves. And that space changes and blends depending upon what the components are.