If I was writing about an academic or a more difficult person, I would use the Latinate vocabulary more, but I do think Anglo-saxon is the language of emotion.

Do what you want to do, and don't worry if it's a little odd or doesn't fit the market.

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.

I find teaching - I like it, but I find just walking into the classroom and facing the students very difficult.

the translator, a lonely sort of acrobat, becomes confused in a labyrinth of paradox, or climbs a pyramid of dependent clauses and has to invent a way down from it in his own language.

We feel an affinity with a certain thinker because we agree with him; or because he shows us what we were already thinking; or because he shows us in a more articulate form what we were already thinking; or because he shows us what we were on the point of thinking; or what we would sooner or later have thought; or what we would have thought much later if we hadn’t read it now; or what we would have been likely to think but never would have thought if we hadn’t read it now; or what we would have liked to think but never would have thought if we hadn’t read it now.

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.