I grew up on a farm, and we didn't have cable and only limited radio stations, so I wasn't inundated with culture the way people in other parts of the country were. But I was really interested in it.

Book writing is a little different because, in my case, my editor is a year younger than me and basically has the same sensibility as me.

The essays are different because ultimately it's things I'm interested in, and I'm really just writing about myself and using those subjects as a prism.

The biggest problem in rock journalism is that often the writer's main motivation is to become friends with the band. They're not really journalists; they're people who want to be involved in rock and roll.

You're trying to find new ideas in people. I always think to myself, what question I am least comfortable asking the person? And then I make sure I ask it early in the interview.

Anybody who says they are a good liar obviously is not, because any legitimately savvy liar would always insist they're honest about everything.

I've been asked about this constantly, and I compare it to how if you're walking down the street and some schizo guy comes up to you and vomits on you: You wouldn't be hurt by that, you'd just think it's weird.

I also did an Ozzy piece for him, and so I got hired. Everything happened really fast. I can't give people advice, because everything in my life changed completely in less than a year and it's still not something I am used to.

At a magazine, everything you do is edited by a bunch of people, by committee, and a lot of them are, were, or think of themselves as writers. Part of that is because magazines worry about their voice.

I grew up on a farm, and we didn't have cable and only limited radio stations, so I wasn't inundated with culture the way people in other parts of the country were. But I was really interested in it.

Anyone who claims to be good at lying is obviously bad at lying. Thus - as a writer myself - I cannot comment on whether or not writers are exceptionally good liars, because whatever I said would actually mean its complete opposite.

If you're doing an interview, you need conversational tension. After you talk to them, you're not going to have a relationship with them, they're not going to like you, they're not going to be your friend.

The essays are very solipsistic and self-absorbed, I'm totally conscious of that. To me, book writing is fun, and I basically just write about things that are entertaining to myself.

Even though I wanted to experience all these things I was interested in, I couldn't get them. So I had to think critically and culturally about what was available.

It's just that what's important there is different there than what's important is here. Here, people care that you wrote a book or that you work in the media.

The biggest hurdle to writing Fargo Rock City was that I couldn't afford a home computer - I had to get a new job so I could buy a computer. It could all change though. In five years, I could be back at some daily newspaper, which wouldn't be so bad.

A lot of people have this strategy where if they have a hard question they wait to ask it to the end of the interview because they think the person is going to walk out. But what they have to realize is, is that if the person walks out, they have a pretty successful story.

A whole bunch of months passed and I didn't hear anything and then he emailed and asked if I could do a little piece on POD and Queens of the Stone Age.

To me, every interview, even if you love the artist, needs to be somewhat adversarial. Which doesn't mean you need to attack the person, but you do need to look at it like you're trying to get information that has not been written about before.

I feel sorry for people who have to edit me. Which is why book writing is by far the most enjoyable. Really the only thing it's based on is whether it's good or not. No book editor, in my experience, is getting a manuscript and try to rewrite it.

In Fargo, they say, well, that's a job. How well do you get paid? For example, for this book I was written about in Entertainment Weekly, and it was kind of cool because my mom asked me if Entertainment Weekly was a magazine or a newspaper.

I keep saying the word "weird" over and over again, but it's the only way I can describe it.

It didn't seem remotely possible. I had no idea how people got those jobs, I didn't know what the steps were, it never even dawned on me. It seemed so outside the realm of possibility.

When you're writing for newspapers you have all these parameters. You can't swear, you have to use short paragraphs, all that. If you stay within those parameters, you have lots of freedom because you're writing for the next day.

I was fortunate that I was at newspapers for eight years, where I wrote at least five or six stories every week. You get used to interviewing lots of different people about a lot of different things. And they aren't things you know about until you do the story.

I keep saying the word 'weird' over and over again, but it's the only way I can describe it.

Every generation is more influenced by technology which is always changing faster.

The worst thing you can do to anybody trying to be creative is to demand participation in their vision.

It is important to have questionable friends you can trust unconditionally.

But like the rest of the country, Maine has reached an impasse, for most of the mercury that fouls our skies, waters and land comes from outside our borders.

Education is the cornerstone of our communities and our country.

For a country to have a great writer is like having another government. That's why no regime has ever loved great writers, only minor ones.

The successful establishment of a buffer zone around Fort Carson will provide an example for other bases around the country as we seek to protect the training mission of the U.S. military while preserving critical habitats on our ranges.

Then, in that hour of deliverance, my heart spoke. Does not such a country, and such defenders of their country, deserve a song?

Prosperous farmers mean more employment, more prosperity for the workers and the business men of every industrial area in the whole country.

You look at the whole Human Rights questions, I happened to be there at just the right time when the country was awakening - this goes to the first question you asked - the whole country was awakening to a hundred years of injustice that hadn't been resolved yet.

It may be shocking to some people in this country to realize that, without meaning to do so, they hold views in common with Hitler when they preach discrimination against other religious, racial or economic groups.

So, for example, a country was into recession right after I was sworn in, a dot-com bust had taken place. Then the attacks of September the 11th, and then of course the great financial meltdown in the -the fundamental question facing any presidency is how do you deal with the hand you're dealt?

And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country.

The day cold and fair with a high easterly wind: we were visited by two Indians who gave us an account of the country and people near the Rocky mountains where they had been.

It was clear that the special interest groups in California really wanted the Chinese to be shut out of the country, because that was where the racial tension was the greatest.

Duty, Honor, Country. Those three hallowed words reverently dictate what you ought to be, what you can be, what you will be.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

Disney had such a hold on the mind of America-they were Adolf Hitler. The whole country thought Disney was some sort of god and that animation was some sort of pure thing for children.

To stop terrorists before the strike, we must do three things: deny them entry into the country, curtail their freedom of action inside the country, and deprive them of material and moral support from within the country.

As I think through the issue of funding the rebuilding of Iraq, I think about the analogy of a bankruptcy proceeding. There is no doubt that Iraq as a country is bankrupt.

I have some strategical vision, I could calculate some few moves ahead and I have an intellect that is badly missed in the country which is run by generals and colonels.

Yesterday in this country we had people die of hunger and malnutrition. In some parts of this country, the infant mortality rate rivals that of sub-Saharan Africa. We have a public education system that ranks below that of almost any other Western nation.

When I reached adulthood, even now, I could afford to belong to a country club. But I could never belong to a private club because of my experience as a child, because it would isolate me from the whole of humanity.