Akiko. Tokyo. Deep night.

Many readers have noted my “unconventional” approach to dialogue and sometimes also to indentation and punctuation.

In stark truth, I used to be much more “correct” about how I put together a piece of fiction. So correct, and so hyper-aware of real and imagined flaws, that I instantly destroyed just about everything I wrote.

Then, one fine day in 1992 or so, I read a generous excerpt from Cormac McCarthy’s ALL THE PRETTY HORSES in Esquire. (This was at a time when big magazines were still publishing interesting stuff.)

At that instant, a light bulb flashed on over my head, as I began to see the possibilities open for sheer writing. I began to see that there is no necessary contradiction between action and poetry.

The great spaghetti Westerns, Hong Kong gangster and Japanese yakuza crime movies, for example, are lyrical as well as gritty and bloody.

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