I Come From A Very Illustrious Line

I'm Not Sure That All Books Aren't That Way. I Think That Might Apply To Any Book I Was Writing. The Book Was Kind Of The Product Of This Enormous Infatuation I Had, Not Only With The Office And Office Politics, But With Perspective, And Trying To Tell A Story From As Wide A Range Of Perspectives As You Possibly Can. I Tried To Capture It All With The First-person Plural, But Once I Settled On That, I Used It To Tell The Story From As Many Angles As I Could. I Guess, To Put It Romantically, It Was About A Love Affair With The Craft Of Perspective.

We Told Him To Get On With It. We Liked Wasting Time, But Almost Nothing Was More Annoying Than Having Our Wasted Time Wasted On Something Not Worth Wasting It On.

Things Could Be Worse And Things Could Be So Much Better.

I've Always Thought Things Were Absurd. It Would Take A Lot More Effort For Me To See Things As Reasonable.

Names Generate Meaning In A Short Amount Of Space — They Provoke Thoughts, Questions. That's Something I Like Doing. Of Course, You Have To Be Careful. Sometimes It Can Alienate The Reader, It Can Be Another Level Of Mediation, To Make A Character Carry The Great Burden Of A Metaphoric Name. The Character Can Be A Device Before He Or She Becomes A Person, And That Can Be A Bad Thing For A Writer Who Wants To Offer Up A Kind Of Emotional Proximity In The Work. It's A Constant Struggle, The Desire To Be Playful And The Desire To Communicate On Some Very Stark Emotional Level.