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I think it's very hard to reconcile oneself to the notion that it may not matter what you think if you still want to write.
I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.
I don't feel any obligation to make my intentions for a song accessible to a listener or an audience. I'm not interested in conveying anything to them so much as what's best for me.
I don't think anybody says to Coetzee or Dostoyevsky or Kafka, "Your characters aren't likeable." It's not about your character winning a popularity contest. That's not the writer's job.
Ulysses pissed me off. When Molly Bloom just says, "Yes I said yes I will Yes." And I'm thinking, You should be saying no, Molly. How about no? Saying no is great.
I think the major device for me is that narrator's voice. I'm always trying to find a different kind of form to tell whatever story it is, and I wish that weren't so, because it drives me crazy.
Wanting to know all kinds of things is perfect for novelists, because novelists are generalists. We're not specialists in anything, except, hopefully, writing.
When I'm choosing things, there's a level of intelligence I want to peel off, whether it's written in terribly simple sentences, whether it's from the point of view of a dog, or a 15-year-old boy.
Whatever the style is, I want to have a sense that the writer is thinking, and really trying to get at something, and that there's a sense of discovery as the writing goes along.
You could say this word is better to use than that word, this sentence is good and that sentence isn't. But you don't determine the value of your work for other people.