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God is not seeking a display of my Christ-likeness , but a manifestation of His Christ.

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Alexander Weinstein

When I wrote the story ["The Cartographers"], I'd just gone through a breakup with a woman I'd loved dearly. Without this other person in my life, the memories we'd shared often felt like phantoms. Who was this person I once loved? Did she still really exist? The answer, on a metaphysical level, was that this person didn't still exist. She'd gone on to become a different person, an individual with new hopes and dreams which no longer involved me.

Breakup, Dream, Exist, Level, Loved, Memories
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Wit and humor seem to always factor into this - there's a tongue-in-cheek tone you get when you take on a formalist story - because there's an inherent voice you're trying to copy (and often to satirize).

Humor, Stories, Take, Trying, Voice

I really admire the experimentalists who challenge traditional narrative - writers like Ishmael Reed, Michael Martone, Donald Barthelme, Tatyana Tolstaya, George Saunders, and many others.

Admire, Challenges, Ishmael, Like, Narrative, Reeds

I love the Russian absurdists - [Nikolai] Gogol,[Daniil] Kharms, and [Vladimir] Bulgakov. Even within the Russian experimentalists, there's a lineage of traditional narrative, conflict, and character development, which I find vital to my storytelling.

Character, Development, Love, Narrative, Traditional, Vital

While my stories are experimental, they're also very traditional. I love the works of the great Russian writers like [Pavel] Chekhov and [Lev] Tolstoy, and their ability to portray our human struggles and joys.

Human, Joy, Stories, Struggle, Traditional

I set many of my stories in a gritty "realist" world, but one that is plagued by an overuse of technology, which is akin to the world we find ourselves living in now.

Technology, Stories, World, Set, Plagued
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