Adam Ross quotes:

Mr. Peanut' is not about a man who dreams of killing his wife; that's jacket copy, to me. 'Mr. Peanut' is about the dynamism of marriage and the distances - some tragic, some redemptive - that marriages travel over time, and those travels ain't always pretty.

Once when I went over my work with my Washington University professor, the late great Stanley Elkin, he pointed to a passage of mine and said: 'Stop vamping.' It has remained a caution.

I think that if you have a knack for storytelling, and you work really hard at it, you'll have a chance to tap into something deep. But the fact remains that good sentences are hard won. Any writer worth a lick knows constructing a sentence, a paragraph, or a chapter is hard work.

Once when I went over my work with my Washington University professor, the late great Stanley Elkin, he pointed to a passage of mine and said: Stop vamping. It has remained a caution.

Perhaps it's simply the dual nature of marriage, the proximity of violence and love.

Marriage is a kind of prison for anyone who's miserable in it - men and women alike - and anyone who's suffered through difficult periods in marriage dreams of escape from it.

Hardcover and paperback forever. Someone carve that into a tree.

There was a long stint during my childhood after I gave up on being a pro football player - we're talking sixth grade here - that I strongly considered a future writing and drawing comic books. I have been making stuff up ever since.

The best compliment came from Knopf's Sonny Mehta. We were at lunch in New York with my editor, Gary Fisketjon, it was my first time meeting Sonny, and after ordering our food, he turned to me and said, 'Adam, I read 'Mr. Peanut' in two days; every page surprised me, and that, I can assure you, doesn't happen often.'

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

Writers do well to carefully attend to those moments of inspiration, because chances are that they're writing from a very deep place. The subsequent search that ensues to continually attend to that voice that you hear is what is going to give the story drive.

It is possible, he thought, to be completely happy in marriage--though you must be willing to hold on when your ship was lost at sea and there was no guarantee of rescue.

You know, as I've grown older, my ideas about sin have changed. I used to believe that sins were things you did, but I don't think that now. I think sins are what you ignore.

People think of travel, of movement, as a kind of reprieve from life. But they're wrong. Movement isn't a reprieve. There is no reprieve. Movement is our permanent state.

I became a writer through drawing first and then a comic book obsession - Marvel Comics, in particular. I invented a world of superheroes starting in third grade with my classmate, Wai-Kwan Wong. In a classroom of forty kids, let's just say there was a lot of undirected time. But this was good because I was a dreamy boy.

There was a long stint during my childhood after I gave up on being a pro football player - were talking sixth grade here - that I strongly considered a future writing and drawing comic books. I have been making stuff up ever since.

I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?

By examining characters lighting the way to hell, as it were, are readers spared iniquity? Are stories a heeded warning, or merely an entertainment? Each story in the collection tries to wrestle with these questions.

Simply put, you can read a story in a single sitting and hold it all in your mind. You can experience all of its rhythms, beginning to end, during that span. Consequently it has, I think, greater emotional power than a novel because of this real-time effect. Stories can stun you.

I'll never forget reading Chekhov's "A Doctor's Visit" on a train to Hawthorne, New York, and I got to the end - the scene where the patient says goodbye to the doctor and she puts a flower in her hair as a kind of thank you to him - and I felt like a cowboy shot from a canyon's top. This is a different experience from reading a novel, I think. The emotional effect is cumulative. Let's just hope market forces don't send short fiction the way of the dinosaur, because their sales are paltry compared to the novel and this is truly unfortunate.

I can't imagine turning into one of those codgers who no longer reads fiction. I'm regularly stirred by it and suffer no anxiety of influence. Influence me! That was my credo then, as I was developing and learning, and remains so now, as I'm developing and learning.