Shut the door, they're coming through the window, shut the window, they're coming through the door," are the words to an old song. They fit my lifestyle with newly arriving butcher/censors every month. Only six weeks ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some 75 separate sections from the novel. Students, reading the novel which, after all, deals with censorship and book-burning in the future, write to tell me of this exquisite irony.

I went to bed and woke in the middle of the night thinking I heard someone cry, thinking I myself was weeping, and I felt my face and it was dry. Then I looked at the window and thought: Why, yes, it's just the rain, the rain, always the rain, and turned over, sadder still, and fumbled about for my dripping sleep and tried to slip it back on.

Each person was himself one alone. One oneness, a unit in a society, but always afraid, always alone. If I should scream, if I should call for help, would anyone hear would it even matter?

I never consciously place symbolism in my writing. That would be a self-conscious exercise and self-consciousness is defeating to any creative act. Better to get the subconscious to do the work for you, and get out of the way. The best symbolism is always unsuspected and natural. During a lifetime, one saves up information which collects itself around centers in the mind; these automatically become symbols on a subliminal level and need only be summoned in the heat of writing.

Facts quite often, I fear to confess, like lawyers, put me to sleep at noon. Not theories, however. Theories are invigorating and tonic. Give me an ounce of fact and I will produce you a ton of theory by tea this afternoon. That is, after all, my job.

When I finished [writing it], I was crying. I knew at long last, after ten years of trying, I had written something good.

I have fun with ideas; I play with them.