A Swim in a Pond in the Rain: From the Man Booker Prize-winning, New York Times-bestselling author of Lincoln in the Bardo

And let’s be even more honest: those of us who read and write do it because we love it and because doing it makes us feel more alive and we would likely keep doing it even if it could be demonstrated that its overall net effect was zero,

We don’t have to become an entirely new person to do better; our view just has to be readjusted, our natural energy turned in the right direction. We don’t have to swear off our powers or repent of who we are or what we like to do or are good at doing. Those are our horses; we just have to hitch them to the right, uh, sled.

What I admire most about Chekhov is how free of agenda he seems on the page—interested in everything but not wedded to any fixed system of belief, willing to go wherever the data takes him. He was a doctor, and his approach to fiction feels lovingly diagnostic. Walking into the examination room, finding Life sitting there, he seems to say, “Wonderf

One thing that comes to mind is the notion of a binary: there are two singers, and the town is cleft in two. This makes me ask, of the story: Any other binaries in there? Actually, the story is full of them: the doleful, sympathy-seeking rooks and crows vs. the relatively content, chirping, energetic sparrows; the town’s former pastoral glory (it h

In other words, what makes us think of Tolstoy as a moral-ethical giant here is a technique (going from mind to mind) coupled with a confidence. Of what is Tolstoy confident? That people are more similar to him than different. That he has an inner Vasili, an inner aged host, an inner Petrushka, an inner Nikita. This confidence serves as a gateway t

A short story is not just a series of events, one following after another. It’s not a lively narrative that briskly continues for a number of pages, then stops. It’s a narrative that compels us to finish reading it, yes, but that, in the midst of itself, somehow rises or expands and becomes . . . ​ enough. When I was a kid, Lipton had a TV commerci

In his novella The Death of Ivan Ilyich, Tolstoy writes, of the terminally ill Ivan: “The syllogism . . . ​‘Caius is a man, men are mortal, therefore Caius is mortal,’ had always seemed to him correct as applied to Caius, but certainly not as applied to himself. . . . He was not Caius, not an abstract man, but a creature quite, quite separate from

That self-interruption is a beautiful thing. It says: the mind can be two places at once. (Many trains are running simultaneously in there, consciousness aware of only one at a time.)

The main thing I want us to be asking together is: What did we feel and where did we feel it? (All coherent intellectual work begins with a genuine reaction.)

Early in a story, I’ll have a few discrete blocks (blobs? swaths?) of loose, sloppy text. As I revise, those blocks will start to . . . ​get better. Soon, a block will start working—I can get all the way through it without a needle drop. The word that sometimes comes to mind is “undeniable,” as in “All right, this bit is pretty much undeniable,” wh