So the words new criticism, modernism, postmodernism. Do you care about any of these terms?

No, I don't even know what they mean, to be honest. I really don't.

To me, they're for historians. They're for people trying to like catalog what's happening in the world.

And they're not for people making shit if you're

making shit you're just going to make shit and you're not going to overanalyze this stuff yeah i think

that's not up to you anyways i mean i i don't i i feel like if you're intent on like filling a void

in some sort of genre or just to add to, you know, just to add

to the fire of a certain genre, like, you're not, it's not going to be what you want it to be

anyways. So I think that going in without any sort of focus on like where you want this book

to land is really important. Like, I mean, I kind of, when I was doing watch, I knew that I wanted it to be sort of

eerie in a sense that like it was almost science fiction, but it's not a science fiction

book.

And I would never try to pitch it as a science fiction book or tell anyone it's a science

fiction book. But I kind of like had that idea that that's just in the general direction I wanted

to go and I can see that like uh you feel when you read uh watch especially you feel like you're in a

cold room yeah that's like the same kind of feeling I would get from a lot of like the very stuffy sci-fi.

Yeah.

Yeah.

Like whole short stories about it, artificial intelligence where nothing happens.

That's like my shit.

Like Ursula Le Guin, like were you big in her?

Oh, I've never read her.

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