As the writer, I may choose to ignore the emotional heart of the matter, and focus on details, and trust that the heart of the matter will be conveyed nevertheless.

I don't feel I have to struggle against allegory. I let the readers do the interpreting.

I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.

As the writer, I may choose to ignore the emotional heart of the matter, and focus on details, and trust that the heart of the matter will be conveyed nevertheless.

I looked like a woman in glasses, but I had dreams of leading a very different kind of life, the life of a woman who would not wear glasses, the kind of woman I saw from a distance now and then in a bar.

I attempt all day, at work, not to think about what lies ahead, but this costs me so much effort that there is nothing left for my work. I handle telephone calls so badly that after a while the switchboard operator refuses to connect me. So I had better say to myself, Go ahead and polish the silverware beautifully, then lay it out ready on the sideboard and be done with it. Because I polish it in my mind all day long—this is what torments me (and doesn't clean the silver).

I started with small-press publishers, who were willing to publish all sorts of forms. I didn't move to the larger presses until they knew what they were getting in for.