In its conception the literature prize belongs to days when a writer could still be thought of as, by virtue of his or her occupation, a sage, someone with no institutional affiliations who could offer an authoritative word on our times as well as on our moral life.

Some years ago I wrote a book called The House on Eccles Street. To write this book I had to think my way into the existence of Marion Bloom...Marion Bloom was a figment of James Joyce's imagination. If I can think my way into the existence of a being who has never existed, then I can think my way into the existence of a bat or a chimpanzee or an oyster, any being with whom I share the substrate of life.

My existence from day to day has become a matter of averting my eyes, of cringing. Death is the only truth left. Death is what I cannot bear to think. At every moment when I am thinking of something else, I am not thinking death, am not thinking the truth.

The most important of all rights is the right to life, and I cannot foresee a day when domesticated animals will be granted that right in law.

So it has come, the day of testing. Without warning, without fanfare, it is here, and he is in the middle of it. In his chest his heart hammers so hard that it too, in its dumb way, must know. How will they stand up to the testing, he and his heart?

You think you know what is just and what is not. I understand. We all think we know." I had no doubt, myself, then, that at each moment each one of us, man, woman, child, perhaps even the poor old horse turning the mill-wheel, knew what was just: all creatures come into the world bringing with them the memory of justice. "But we live in a world of laws," I said to my poor prisoner, "a world of the second-best. There is nothing we can do about that. We are fallen creatures. All we can do is to uphold the laws, all of us, without allowing the memory of justice to fade.

I say that I represent this movement because my intellectual allegiances are clearly European, not African.