Author Description

It doesn't matter that I cobble together ideas about womanizing linguistics, make hallucinatory word salads, create poetics about invasive social orders, or write plays about imagined interstellar beings. My offspring, by dint of being mine, have a duty to prize personal growth and to value social contribution over externally assigned accolades. A writer's sons and daughters might influence a writer, but she affects them, too. **** While neither gigantic starfish nor shrunken behemoths are meant to replace clergy, therapists, or beloveds as guides for self-improvement, fake fauna constitute viable vehicles for processing otherwise unreachable corners of interpersonal conundrums. Simulations are especially important to those among us who need to flee the malfeasance of ostensibly mild-mannered citizens, i.e., from individuals akin to axe murderers or other villains. **** It's tough to refute that choices, chances, partners, and presumptions are colored by private acts and that not every answer comes from cutting away connective tissue with a scalpel, i.e., from forsaking one's identity. Belief can and ought to be made manifest in expression. **** When I construct works about the incredible or the barely conceivable, I'm happy and I'm providing audiences with fresh mental architecture. **** Not only is the employment of pretend friends useful to entice audiences, but that choice is similarly valuable for educating them. In particular, readers that are fatigued by differentiating among intentions, decisions, and actions, professionally and personally, care little that the literature, which they deem tastiest, is riddled with masked intentions, misrepresents social fidelity, or is devoid, overall, of pointers toward private answerability. It's not for nothing that genre fiction keeps growing in popularity. **** My use of funky critters is my sugarcoating of social linctuses. **** Gone is the era when writers sacrificed profits