It's no secret that in my books I am trying to make the comic and the serious rub up against each other just as closely and uncomfortably as I can.- Richard Russo
If you work at comedy too laboriously, you can kill what's funny in the joke.
If there's an enduring theme in my work, it's probably the effects of class on American life.
If my career continues along its current arc, people will probably look at me and see a writer who is obsessed with the relationship between rich and poor and with how the rich somehow or other always manage to betray the poor, even when they do not mean to.
I am delighted by how Nobody's Fool turned out. It was a rare movie.
I was pretty dead set against ever writing an academic novel. It's always been my view that there are already more than enough academic novels and that most of them aren't any good. Most of them are self-conscious and bitter, the work of people who want to settle grudges.
I want that which is hilarious and that which is heartbreaking to occupy the same territory in the book because I think they very often occupy the same territory in life, much as we try to separate them.
I think the darker aspect of my fiction-or anybody's fiction-is by its very nature somehow easier to talk about.
I think that if people are instructed about anything, it should be about the nature of cruelty. And about why people behave so cruelly to each other. And what kind of satisfactions they derive from it. And why there is always a cost, and a price to be paid.
I think it would be harder for me not to write comedy because the comic view of things is the one that comes most naturally to me.
I think a lot of what is going on with kids who get pushed too far and attempt either murder or suicide is that they are trying to deal with their own non-existence for the people who are supposed to care most for them.
I suppose all writers worry about the well running dry.
I read pretty voraciously. If it's good, I do not care what it is.
I looked back at some of my earlier published stories with genuine horror and remorse. I got thinking, How many extant copies might there be, who owns them, and do they keep their doors locked?
I have to have a character worth caring about. I tend not to start writing books about people I do not have a lot of sympathy for because I am just going to be with them too long.
