Local writer Matthew Simmons interviews Stranger Genius Stacey Levine in the new issue of Hobart, and it's very worth your time:

Are you allowed to make changes on something that has already been published? Is it a writer's prerogative to tinker until they can no longer hold a pen or type on a keyboard? Is all work, even work that has been found its way into some sort of print, still in process?

Sure. Doing corrections or updates isn't uncommon with new editions, but I'd guess sometimes writers don't want to go back and change anything significant in the book. And that editors want to preserve the original work. Not always—in this case, Verse Chorus was amenable to some changes I wanted to make. It's kind of nice to think that any work in a fixed form remains malleable, re-workable.

Also in the same issue: an interview with Doug Nufer:

In my novels I like to deploy what I think of as the Exercises in Style imperative: as in Raymond Quenaud's Exercises in Style, where he repeats the same vignette 99 times, using different methods and constraints, I try to subject whatever constraint I'm using to various other, far more common constraints: punch lines of old jokes, song lyrics, lines from famous speeches and ad slogans, etc. Another strategy I use, which may deal with this to hide/ to show question, is that I explain what I'm doing in the course of doing it, but not in a way that might be readily apparent. I mean, the books don't come with instructions of how to read them, but in the course of the novel, here or there, I try to discuss what I'm doing.

That's some great Sunday reading, right there.