I had always been fascinated with Napoleon because he was a self-made emperor; Victor Hugo said, 'Napoleon's will to power,' and it was the title of my paper. And I submitted it to my teacher, and he didn't think I had written it. And he wanted me to explain it to him.
When I was seven or eight years old, I began to read the science-fiction magazines that were brought by guests into my grandparents' boarding house in Waukegan, Illinois. Those were the years when Hugo Gernsback was publishing 'Amazing Stories,' with vivid, appallingly imaginative cover paintings that fed my hungry imagination.
I can imagine the writers of China, England and France, crippled and unsure of themselves when they feel that the ghosts of Confucius, Mencius, Chaucer and Shakespeare and Victor Hugo are looking over their shoulders.
And, as I have said, it's made me think twice about the imagination. If the spirits aren't external, how astonishing the mediums become! Victor Hugo said of his voices that they were like his own mental powers multiplied by five.
From the beginning, about the rude altar of the god, to the days of Goethe, of Leopardi, and of Victor Hugo, the poet is the leader in the dance of life; and the phrase by which we name his singularity, the poetic temperament, denotes the primacy of that passion in his blood with which the frame of other men is less richly charged.
One of my biggest inspirations is President Hugo Chavez of Venezuela. Yea, President Hugo.
Anything I learned about the fine art of acting I learned from Hugo.
For fiction, I'm not particularly nationalistic. I'm not like the Hugo Chavez of Latin American letters, you know? I want people to read good work.
My inners are not organs. They're actually mechanics, so I have a hole in my back, wind me up like the movie 'Hugo,' and then just say, 'Act,' you know?
Richard Hugo taught me that anyone with a desire to write, an ear for language and a bit of imagination could become a writer. He also, in a way, gave me permission to write about northern Montana.