You have to suspend thinking in narratives. The moment you are conscious of yourself the gap opens up. And in this gap, stories are generated.

A particular piece of music attaches itself to the piece I'm writing, and there is nothing else I can listen to. Every day I return to the same space to write, the music providing both the walls and the pictures on the walls.

I wanted us to share the sense that the number of wrong moves far exceeds the number of good moves, to share the frightening instability of the correct decision, to bond in being confounded.

I write and read with the assumption that literature contains knowledge of human experience that is not available otherwise.

Whatever solidarity I have established with other writers individually, it is usually organized around books. We connected as readers, as it were, not writers.

I gradually became aware that my interiority was inseparable from my exteriority, that the geography of my city was the geography of my soul.

God knows our despair. God wants His chosen people to live in peace. God loves life, cares less about death. We need to live. I want to live, I want my children to live. Everyone I know wants to live. You have to ask yourself what is more important to you, life is death. What is this world about - life or death?