Nearly every morning, a certain woman in our community comes running out of her house with her face white and her overcoat flapping wildly. She cries out, "Emergency, emergency," and one of us runs to her and holds her until her fears are calmed. We know she is making it up; nothing is has really happened to her. But we understand, because there is hardly one of us who has no been moved at some time to do just what she has done, and every time, it has taken all our strength, and even the strength of our friends and families, too, to keep us quiet.

Part of my mind is working on how to end the thing while I'm going on. You need at least two brains to write.

Maybe the truth does not matter, but I want to know it if only so that I can come to some conclusions about such questions as: whether he is angry with me or not; if he is, then how angry; whether he still loves me or not; if he does, then how much; whether he loves me or not; how much; how capable he is of deceiving me in the act and after the act in the telling.

When I'm trying a new form- trying to do something I'm not used to doing, which was true of the novel.

I think the close work I do as a translator pays off in my writing - I'm always searching for multiple ways to say things.

That's the interesting thing about writing. You can start late, you can be ignorant of things, and yet, if you work hard and pay attention you can do a good job of it.

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.