I Know For A Fact That -

A Form Wherein We Can Enjoy Simultaneously What Is Best In Both The Novel And The Short Story Form. My Plan Was To Create A Book That Affords Readers Some Of The Novel's Long-form Pleasures But That Also Contains The Short Story's Ability To Capture What Is So Difficult About Being Human - The Brevity Of Our Moments, Their Cruel Irrevocability.

Artists Are Not Cheerleaders, And We're Not The Heads Of Tourism Boards. We Expose And Discuss What Is Problematic, What Is Contradictory, What Is Hurtful And What Is Silenced In The Culture We're In.

I Always Had A Sense That I Would Fall In Love With Tokyo. In Retrospect I Guess It's Not That Surprising. I Was Of The Generation That Had Grown Up In The '80s When Japan Was Ascendant (born Aloft By A Bubble Whose Burst Crippled Its Economy For Decades), And I'd Fed On A Steady Diet Of Anime And Samurai Films.

For My First Three Books The Setting (or Place If You Will) Has Always Been A Given - N.j. And The Dominican Republic And Some N.y.c. - So From One Perspective You Could Say That The Place In My Work Always Comes First.

Genre Might Certainly Increase Some Of Your Narrative Freedoms, But It Also Diminishes Others. That's The Nature Of Genre.