'You might think of combinatorics as a machine too', the major says. 'A different sort of machine, though. Have you heard of Babbage's analytic engine? He never built it. ... I have an analytic machine of my own-right here.' He taps his own skull.

It is so common to write autobiographical fiction in which your own experience is thinly disguised.

You are not supposed to get it. It's a paradox. All of mathematics is built on paradoxes. That's the biggest paradox of all-all this orderliness, and at the heart, impossibility. Contradiction. Heaven built on the foundations of hell.

In a memoir, I think, the contract implies a certain degree of truth. I think you have to be as true to your memory and your experience as you possibly can.

Novels are forged in passion, demand fidelity and commitment, often drive you to boredom or rage, sleep with you at night. They are the long haul. They are marriage. Stories, on the other hand, you can lose yourself in for a few weeks and then wrap up, or grow tired of and abandon and (maybe) return to later. They can cuddle you sweetly, or make you get on your knees and beg.

Having reached a point in which I was so bitter and exhausted from being a quote unquote public figure, I wanted to return to a more childlike relationship to writing.

We all spend so much time worrying about the future that the present moment slips right out of our hands. And so all we have left is retrospection and anticipation, retrospection and anticipation. In which case what's left to recall but past anticipation? What's left to anticipate but future retrospection?