I'm Not Sure If You're

[george Saunders] Is Very Precise About What He Is Doing. There Isn't A Thing Left To Chance.

Something In Me Was Changed By Lincoln In The Bardo, And The Great Sublime/grotesque Risk Of [george Saunders'] Ghosts Was A Part Of It.

I Guess I've Always Written More From The Opposite Perspective, That Kind Of Existentialist Perspective Which Argues That Existence Precedes Essence. And There Really Isn't Anything Essential In There - You're The Product Of Your Actions, Which Can Always Change. And They Retrospectively Make You One Way Or Another.

She Wore Her Sexuality With An Older Woman's Ease, And Not Like An Awkward Purse, Never Knowing How To Hold It, Where To Hang It, Or When To Just Put It Down.

The Young People Have A Phrase For This Now, Which Is "slay In Your Lane." That's A Very Important Principle Of Writing. You Have To Work Out What It Is You Can't Do, Obscure It, And Focus On What Works.