Chuck Klosterman

Chuck Klosterman
Charles John "Chuck" Klostermanis an American author and essayist who has written books and essays focused on American popular culture. He has been a columnist for Esquire and ESPN.com and wrote "The Ethicist" column for The New York Times Magazine. Klosterman is the author of eight books including two novels and the essay collection Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto...
NationalityAmerican
ProfessionNovelist
Date of Birth5 June 1972
CountryUnited States of America
Sure there's a percentage of people who are like, "It snowed in May. I don't believe in climate change." Well, that's crazy, but that's always gonna be the case. I suppose if climate change happens much faster than even the dire experts predict, then I suppose opinions will change.
Coldplay songs deliver an amorphous, irrefutable interpretation of how being in love is supposed to feel, and people find themselves wanting that feeling for real. They want men to adore them like Lloyd Dobler would, and they want women to think like Aimee Mann, and they expect all their arguments to sound like Sam Malone and Diane Chambers. They think everything will work out perfectly in the end (just like it did for Helen Fielding's Bridget Jones and Nick Hornby's Rob Fleming), and they don't stop believing because Journey's Steve Perry insists we should never do that.
Americans have become conditioned to believe the world is a gray place without absolutes; this is because we're simultaneously both cowardly and arrogant. We don't know the answers, so we assume they must not exist.
I honestly believe that people of my generation despise authenticity, mostly because they're all so envious of it.
We all believe that we are a certain kind of person, but we never know until we do something that proves otherwise, or until we die.
The deeper reality is that I’m not sure if what I do is real. I usually believe that I’m certain about how I feel, but that seems naive. How do we know how we feel?…There is almost certainly a constructed schism between (a) how I feel, and (b) how I think I feel. There’s probably a third level, too—how I want to think I feel.
Five years ago, I thought I was going to write for newspapers; if I worked really, really hard I could one day work for the Minneapolis Star Tribune.
I got to Spin because I put my phone number in the front of Fargo Rock City and one of the people who called me was David Byrne.
My favorite line of fiction is from Raymond Carver's Gazebo: 'That morning she pours Teacher's over my belly and licks it off. That afternoon, she tries to jump out the window. I go, Holly, this can't continue.'
In the Far East, it's very normal for people to wear masks in flu season. I don't know if I'd ever do that, though, because I don't like having things on my face.
I'm really an alarmist when it comes to epidemics. Swine flu now; when SARS was big, I was all freaked out about that, bird flu. That terrifies me.
I like storms. I would say I actively like stormy weather. I would not be afraid of them. I think that if I had not pursued journalism, I think storm-chasing would've been a really fun career.
I write pretty fast, probably faster than most people. But I might think about something for six hours, then write it in 20 minutes. So did I write for six hours and 20 minutes, or just 20 minutes? I used to write absolutely every day, except for days when I had to travel or something.
If somebody asked for the first draft of something I'd written, it'd probably be pretty close to whatever got published. I get enjoyment out of writing, but I get absolutely no enjoyment out of rewriting, so I don't do much of it. The more you work on something, certainly, the better it gets. But there's also a pretty clear law of diminishing returns.