I'm sitting in my office trying to squeeze a story from my head. It is that kind of morning when you feel like melting the typewriter into a bar of steel and clubbing yourself to death with it. (“Advance Notice”)

I don't think everyone wants to create the great American novel, but we all have a dream of telling our stories-of realizing what we think, feel, and see before we die. Writing is a path to meet ourselves and become intimate.

Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, personalities and have them relate to other characters living with him.

The better you know someone, the less well you often see them (and the less well they can therefore be transferred into fiction). They may be so close as to be out of focus, and there is no operating novelist to dispel the blur.

Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties."(Interview in Writers at Work: The Paris Review Interviews, Eighth Series, ed. George Plimpton, 1988)

I’d say my writing voice is original, and I don’t think you’ll find another quite like it. This makes me sad, because when all my clones arrive sometime in the future, their only hope is to try to copy me.


I don't believe any real artists have ever been non-political. They may have been insensitive to this particular plight or insensitive to that, but they were political, because that's what an artist is―a politician.

But that initial, comet-blazing-across-the-sky, Big Idea is only the beginning. Each book is composed of a mosaic of thousands of little ideas, ideas that invariably come to me at two in the morning when my alarm is set for seven.

You have to remember that I was a bright but simple fellow from Canada who seldom, if ever, met another writer, and then only a so-called literary type that occasionally sold a story and meanwhile worked in an office for a living.

That night she wrote a hasty sketch and showed it to Oliver. "It's all right," he said. "But I'd take out that stuff about Olympian mountains and the Stygian caverns of the mine. That's about used up, I should think.

Remember yourself. Deep inside, you have an observer, a constant neutral witness to your posture, gesture, facial expression, breathing, taste, impressions of light and sound. Don't leap to interpret. Just be there and observe.

Rem tene, verba sequentur: grasp the subject, and the words will follow. This, I believe, is the opposite of what happens with poetry, which is more a case of verba tene, res sequenter: grasp the words, and the subject will follow.

Before I start a project, I always ask myself the following question. Why is this book worth a year of my life? There needs to be something about the theme, the technique, or the research that makes the time spent on it worthwhile.

Every good writer I know needs to go into some deep, quiet place to do work that is fully imagined. And what the Internet brings is lots of vulgar data. It is the antithesis of the imagination. It leaves nothing to the imagination.

Today I ate my manuscript with the very spoon I used to write it with. My book was called “Chicken Noodle Soup for the Stomach.”
I wrote it with alphabet soup, and then edited it with a can of chicken noodle soup.