I felt like I was definitely seeing something - the falsely gorgeous images of war, painted, almost invariably, in 'Times' combat photos.

We're completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you're fictionalising; the moment you remember, you're dreaming. It's ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.

To be honest, there are parts of 'How Literature Saved My Life' that began as interviews. Someone was telling me that they think the book sounds very phonic: that it sounds like me speaking. And I don't think it's a coincidence that there are six to ten passages that I cadged from various interviews that I did post-'Reality Hunger'.

When I was studying at the Iowa Writers School, I read a sports writer, Ron Maly, from the Des Moines Register. He was a good sports writer. I became real interested in the contrast between Lute Olson, who was the coach of Iowa at the time, and Ron Maly.

Sports movies are often very good at dramatizing the intersection of public and private realms: the body politic.

Art, like science, progresses, and to me it's bizarre that a lot of acclaimed and popular and respectable books are not advancing the art form.

Your art is most alive and dangerous when you use it against yourself. That's why I pick at my scabs.

In a way, it's taken me 25 years to acknowledge that I am from the West Coast. I was always sort of pretending I was bicoastal or that I really belonged on the East Coast.

New artists, it seems to me, have to learn the mechanics of computing/programming and - possessing a vision unhumbled by technology - use them to disassemble/recreate the Web.

The only rule is never be bored.

Denied dancing and musical instruments, slaves expressed a hidden tradition of musicality and poetics by tongue and signal.

I'm very drawn to the way in which a life lived can be an art of sorts or a failed art, and a life-lived-told can be art as well.

A book makes claims of literary art.

I have a teaching job that allows me to pay the rent and affords me to, frankly, write the books I want to write.

I disagree with everything John Updike has ever said.

Are black people conscious of how excruciatingly self-conscious white people have become in their every interaction with black people? Is this self-consciousness an improvement? Maybe not, because I'm thinking of people in categories rather than as people, which is a famously dangerous thing to do.

The trajectory of nearly all technology follows this downward and widening path: by the time a regular person is able to create his own TV network, it doesn't matter anymore that I have or am on a network.

I'm interested in non-fiction, but a form of it which is very badly behaved, which doesn't define itself as straight-ahead journalism or memoir. It blurs boundaries, plays fast and loose with the truth - not to be silly, whimsical or lazy, but to get greater purchase on what it feels like to be alive.

The key thing for an intellectually rigorous writer to come to grips with is the marginalization of literature by more technologically sophisticated and thus more visceral forms.

I worry that I am not really a person anymore: I'm more of just a writing machine. I wonder what that has done to either my life and or my art.

That's why people read books. You get to have the real conversation, as opposed to the pseudo-conversations we have in everyday life.

Every quality I despise in George Bush is a quality I despise in myself. He is my worst self realized.

I'm a sucker for sports movies.

The real impulse of most books is to tell a story to keep the reader lashed to the page. I don't get why that's a proper use of an adult's time.

The N.F.L.'s rule on underclassmen should be abolished, and the N.B.A. should be discouraged from adding an age limit.

The ways in which I was obsessed with Gary Payton and Shawn Kemp 20 years ago is completely replicated by my daughters' and my crush on Marshawn Lynch and Richard Sherman now.

Our culture is obsessed with real events because we experience hardly any.

Seattle is still more Caucasian than most medium-sized cities. The sort of psychosexual politics of white fandom in context of black athletes who are also both very rich and slightly angry is just, to me, bottomlessly fascinating.

You could easily do a book of Marshawn Lynch's quotes, which have a quite serious political pushback. I think he's really amazing.

Considering the relatively brief careers of professional athletes, teenagers who are good enough to play at the highest level should be able to exploit that market.

The N.C.A.A. is a multibillion-dollar business built on the talents of players who are often unqualified for or uninterested in being students and who benefit materially from the system only if they are among the few who turn professional.

From the first slave ship arriving in harbor, America stole and judged blacks. Black life that didn't fit into white logic was commercially exploited or lynched.

I went to graduate school in Iowa City, at the Iowa Writers' Workshop, where the most passionate thing I did was attend University of Iowa basketball games.

Sports passion is deeply, infamously territorial: our city-state is better than your city-state because our city-state's team beat your city-state's team. My attachment to the Sonics is approximately the reverse of this.

Flipping through the channels late at night, I'll come across 'The Longest Yard' and not be able to get up off the couch until Burt Reynolds has scored the winning touchdown.

As a work gets more autobiographical, more intimate, more confessional, more embarrassing, it breaks into fragments.

Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.

In the NBA, as in nowhere else in America, white people are utterly beholden to black people, and they're not about to let us off that easily. It's a kind of very mild payback for the last 500 years.

I'm trying to use myself and my own flawedness as a metaphor for general human experience. I'm trying to 'stand next to' a subject, whether it's Bobby Knight or Vince Carter, and use that subject to meditate on both him and me.

I think of sports writers as mediating between two worlds. Athletes probably think of sports writers as not macho enough. And people in high culture probably think of sports writers as jocks or something. They are in an interestingly complex position in which they have to mediate the world of body and the world of words.

A sports writer is a stylist of some kind. He is trying to convey mood and character and emotion.

I like having a paperback original. And until literature catches up with the culture - the violence, language, syntax, compression, concision, complexity and diversity that the Internet offers - books still make sense.

When it's between the covers of a book, content is perceived to have literary substance - or more so that it might otherwise.

We hunger for connection to a larger community.

The originating sin of America is slavery, for which reparations should be paid and will never be paid; as a result, mini-reparations are paid daily, and the NBA remains, for me, reparations theater.

I think the core of fans' relationship is one that vacillates schizophrenically and mercurially from reverence to resentment. Fans fetishize the players' athletic genius and both deify it and demonize it; witness the way awe turns into anger whenever a player holds out or flips off the offensive coordinator.

Sports - especially the NBA - function as a place where American society pretends to discuss and pretends to solve questions and historical agonies that can't possibly be solved within the realm of sports.

I try to be as honest as I possibly can about the contradictions within my own heart and thereby get to something 'true' and revealing and important about contemporary American culture and human nature.

Reality isn't straightforward or easily accessible.

In the case of the Web, each of us has slightly more access to a mass audience - a few more people slide through the door - but Facebook is finally a crude, personal multimedia conglomerate machine, personal nation-state machine, reality-show machine. New gadgets alter social patterns, new media eclipse old ones, but the pyramid never goes away.