Sufjan Stevens is one of my musical heroes. I don't know when I decided this, but you can tell it's happened when you start making assumptions about an artist based on small inferences. You concoct a fascinating back story and song meanings that only you, the avid fan, understand. It's the reason you never meet your heroes, yet the basis of all hardcore fandom.
This tendency to fill in the blanks of your favorite artists is a little bit creepy, a little bit wrong, but completely within your rights as a fan with nothing better to do. It is part of the price of being a public artist; everyone gets to interpret and participate in art's communal conversation.
Sufjan Stevens is the kind of figure that gives you a lot of blanks. His interviews are rare, his songs are wrapped in mystery or mixed with fiction, and he is overall hard to figure out. We know that he is a writer, from Michigan, a multi-instrumentalist and a Christian. He also released one of the greatest albums in modern independent music, Illinois, which was a sprawling work about the state, past and present, fact and fiction. It won a million awards including album of the decade.
But Illinois was 5 years ago. Since then, he has put out a compilation of b-sides, a mixed-media orchestral suite, and commissioned a remix of one of his earliest electronic albums. In terms of original material, every once in a while we would get a song or two, small morsels at best, usually on charity-based compilations like Dark Was The Night.