Writing is my love. If you love something, you find a lot of time. I write for two hours a day, usually starting at midnight; at times, I start at 11.
Writing is my love. If you love something, you find a lot of time. I write for two hours a day, usually starting at midnight; at times, I start at 11.
The idea that I’m going to have to sit down to write some fiction where I’m going to have to think of a plot would really scare me, because it would come out a mess.
I had been plunged into a different world. I found myself spending half my time answering weird questions on book tours in the Midwest. People would stand up and explain to me the situation in their office and ask me whether they should resign or not.
Like a pianist runs her fingers over the keys, I’ll search my mind for what to say. Now, the poem may want you to write it. And then sometimes you see a situation and think, ‘I’d like to write about that.’ Those are two different ways of being approached by a poem, or approaching a poem.
To take a few nouns, and a few pronouns, and adverbs and adjectives, and put them together, ball them up, and throw them against the wall to make them bounce. That’s what Norman Mailer did. That’s what James Baldwin did, and Joan Didion did, and that’s what I do – that’s what I mean to do.
I think the crucial thing in the writing career is to find what you want to do and how you fit in. What somebody else does is of no concern whatever except as an interesting variation.
I was brought up in the great tradition of the late nineteenth century: that a writer never complains, never explains and never disdains.
It is also true that one can write nothing readable unless one constantly struggles to efface one’s own personality. Good prose is like a windowpane.
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