Something in me was changed by Lincoln in the Bardo, and the great sublime/grotesque risk of [George Saunders'] ghosts was a part of it.
For example, you have these grotesque, hilarious, profane ghosts in the book [Lincoln in the Bardo]. Even the concept of talking ghosts is, from an aesthetic point of view, grotesque. But you seem compelled by that risk in order to get to the other end of the equation.
It's not in good taste to have talking ghosts in a grown-up novel.
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