Normally, what you’re envious of is a book, not a writer: standards, ideas, levels … almost nonexistent things.

Normally, what you’re envious of is a book, not a writer: standards, ideas, levels … almost nonexistent things.

A writer writes a book. People read it. You don't know what they're reading, really. You read a review and think, "That is so inaccurate. You can't have been reading my book with any kind of attention, because that is all wrong, that's even the wrong name you're including there." But these reviewers have been diminished in importance, the work is so little respected. If you're reviewed by a real critic, by James Wood or Louis Menand, then you get something that is informed, interesting, and highly articulate. But the average review doesn't have that kind of depth anymore.

One is seduced and battered in turn. The result is presumably wisdom. Wisdom! We are clinging to life like lizards. Why is it so difficult to assemble those things that really matter in life and to dwell among them only? I am referring to certain landscapes, persons, beasts, books, rooms, meteorological conditions, fruits. In fact, I insist on it. A letter is like a poem, it leaps into life and shows very clearly the marks, perhaps I should say thumbprints, of an unwilling or unready composer.

I don't fear death. I'm not obsessed with it the way everybody else seems to be.

When I'm filling notebooks I'm trying to pin down what I'm really interested in and to find those details that are so hard to come by, details that I can look at and believe are right on the mark. Things which bring a novel to life. They can take a while to come.

A light snow, a snow so faint and small-bodied that it seems nothing more than a manifestation of the cold.