'Collaborator' is a hostage tragicomedy, but it's also, kind of, everything I know about post-war America. Well, not everything, but it does reference a lot of the post-war period.
I fantasised about F. Scott Fitzgerald's 'The Great Gatsby' - I loved it, and then I read everything J. D. Salinger had to offer. Then I was turned on to Kerouac, and his spontaneous prose, his stream of consciousness way of writing. I admired him so much, and I romanticised so much about the '40s and '50s.
I've been joking that 'On the Road' is the prequel to 'The Road.' I don't know if that's a very good joke.
I was born in the shadow of World War II, on December 18, 1939, on the South Shore of Long Island, a product of the early -wentieth-century emigration of Eastern European Jewry to New York City and its environs.
I think that I recall the nostalgic '50s: the start of early television and rock-and-roll, and I think everything seemed to get very generic. Not much has changed.
I like 'The Graduate.' That's one of my favorites.
Looking at photographs of New York in 1952, you find a powerfully pre-Eisenhower era - sagging, tired, distressed - and the palette is slightly dissonant.
Americans who grew up in the 1930s or 1940s still have some fleeting memory of what the country was like before it became the steroidal superpower it is today.
The World War II generation believed the United States could do anything - anything... And Vietnam was a shattering experience for everyone.
I had the notion that I wanted to write the great dirty American novel, so I went to Roanoke College on the GI Bill.
I really wasn't too interested in writing "Father Knows Best" and "Ozzie And Harriet." I thought they were pleasant enough, but it wasn't really what I wanted to do.
One of the most widely read novels by a black American is Ralph Ellison's 'Invisible Man.' It is his masterwork - it won the National Book Award in 1953 and catapulted my man to the highest levels of literary esteem.
I would say that Times Square was the central hangout for Burroughs, Kerouac, and myself from about 1945 to 1948.
I was enamored of New York City intellectual life and was really into Philip Roth because I was raised by self-loathing Midwesterners who were from southern Illinois, who felt like fish out of water when they came to the East Coast when I was a kid.
Eventually, my highbrow parents, who so hated the Eisenhower suburban culture of the 1950s that the only magazines they subscribed to were 'The Atlantic' and 'The New Yorker,' broke down and got 'Life' magazine.
I was raised in California during the Second World War and into the '50s and everything was fine, everything was great. The sun always shone, everybody looked healthy and wore ties and smoked in restaurants, and there were cars for everybody - except us, because I came from a lower class neighbourhood. But [in France] I realised there was a different point of view, so when I came back to America a year and a half later I was much more focused on my own country culturally and politically.
I always felt that I was born in the wrong era. I wanted to be friends with John Garfield, for instance. He was one of the only actors that refused to testify in front of the House Un-American Activities Committee back when the Hollywood Ten blacklist was happening in the McCarthy period. I wish I could've been friends with Charlie Parker and played with him. That's my period. I feel real close to the '40s - and actually I was born in '37, so I was a kid singing on the radio in the '40s. But I always dreamed of going to big cities.
I was born into a middle class family in New Jersey. My dad came home from serving in the Army after having lost his father, worked in the Breyers ice cream plant in Newark, New Jersey. Was the first person to graduate from college.
And on nearby islands, the Japanese army was eating raw fish. We felt sorry for them. We didn't know that in America after the war, you wouldn't be able to get into a sushi joint without a reservation. And we thought they lost.
I think I would have done very well as a writer in the Forties. I think the last time America was a great country was then or not long after. It was before Vietnam, before Watergate.
Those diplomas on my wall would not be there without the GI Bill that educated my father, without the public library, without the RIPTA bus.
Ours was not always a nation of homeowners; the New Deal fashioned it so, particularly through the G.I. Bill of Rights.
A lot of the fiction I read growing up was post-war American, and not all of it centers on Manhattan, but around people of the Mad Men generation, people like John Cheever and, in more modern times, Don DeLillo, who I always mention.
I find the 1940s very compelling. It is a very excitable period in the U.S. when, whether out of necessity or not, everybody was reinventing themselves.
If I could take you back in time to the fifties and walk you around to some of the places where I grew up, you'd be trying to get back in your time machine. It wasn't all sock hops - matter of fact, I never saw a sock hop.
