And these two elements are at odds with one another because Freud is utterly adversary to almost all the ways of structuring the human experience found in Western religions. No Western religion can countenance Freud's view of man.

Each work seems to give me the most trouble at the time I'm working on it.

I don't work on my Sabbath. I write five-and-a-half or six days a week.

Two hundred or more years ago most people on the planet were never aware of any reality other than the one into which they were brought up.

And yet there are some magnificent things from Freud, profound insights into the nature of man.

I think most serious writers, certainly in the modern period, use their own lives or the lives of people close to them or lives they have heard about as the raw material for their creativity.

A non-fiction writer pretty much has the shape of the figure in front of him or her and goes about refining it. A work of non-fiction is not as difficult to write as a work of fiction, but it's not as satisfying in the end.

Come, let us have some tea and continue to talk about happy things.

It is inconceivable to me that a million or three million or half a million human beings will think and feel precisely the same way on any single subject.

I'm not altogether certain that a fundamentalism of necessity has to argue that it is the only reading of the human experience in order to stay alive.

It is impossible to fuse totally with a culture for which you feel a measure of antagonism.

All of us grow up in particular realities - a home, family, a clan, a small town, a neighborhood. Depending upon how we're brought up, we are either deeply aware of the particular reading of reality into which we are born, or we are peripherally aware of it.

Yes, there is some thought about making a film of My Name Is Asher Lev.

As a species we are always hungry for new knowledge.

To the extent that I come from a deeply religious tradition and have been contending with those beginnings all of my life - that constitutes the subject of much of my early fiction.

I think that to a very great extent we are partners with the divine in this enterprise called history. That is an ongoing relationship, and there is absolutely no guarantee that things will automatically work out to our best advantage.

But today we become aware of other readings of the human experience very quickly because of the media and the speed with which people travel the planet.

In other words, Judaism is not Calvinism.

I get up around 6:30. I work from about 8:00 to 1:00, take a break for lunch, work again until about 5:00, and then go for a long walk and have dinner. Then, if my wife and I have no previous plans, we decide what to do for the evening.

What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.

There is in my work a very strong religious foreground and background. In the later work some of that tends to diminish, but it's certainly present in the early work.

And these two elements are at odds with one another because Freud is utterly adversary to almost all the ways of structuring the human experience found in Western religions. No Western religion can countenance Freud's view of man.

I'm constantly revising. Once the book is written and typed, I go through the entire draft again.

If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.

A book is sent out into the world, and there is no way of fully anticipating the responses it will elicit. Consider the responses called forth by the Bible, Homer, Shakespeare - let alone contemporary poetry or a modern novel.

Well, in The Chosen, Danny Saunders, from the heart of his religious reading of the world, encounters an element in the very heart of the secular readings of the world - Freudian psychoanalytic theory.

Every man who has shown the world the way to beauty, to true culture, has been a rebel, a 'universal' without patriotism, without home, who has found his people everywhere.

I think the hardest part of writing is revising. And by that I mean the following: A novelist has to create the piece of marble and then chip away to find the figure in it.

Well, one hopes that if you're really related to the core of your particular culture, you have profound commitments to it, and that you are aware of how much you can strain it before you do violence to its essential nature.

A blink of an eye in itself is nothing. But the eye that blinks that is something.

Truth has to be given in riddles. People can't take truth if it comes charging at them like a bull. The bull is always killed. You have to give people the truth in a riddle, hide it so they go looking for it and find it piece by piece; that way they learn to live with it.

You learn from a conglomeration of the incredible past - whatever experience gotten in any way whatsoever.

I've danced one time in my life. It was the most mortifying experience I ever had.

The experience of life consists of the experience which the spirit has of itself in matter and as matter, in mind and as mind, in emotion, as emotion, etc.

My best film composing experience was with Elia Kazan.

Education is a private matter between the person and the world of knowledge and experience, and has little to do with school or college.

A novel should be an experience and convey an emotional truth rather than arguments.

By experience we find out a short way by a long wandering.

The experience of democracy is like the experience of life itself-always changing, infinite in its variety, sometimes turbulent and all the more valuable for having been tested by adversity.

Learning teacheth more in one year than experience in twenty.

Well, the hardest thing to do, as we know from our own experience on 9/11 is protect everything all the time.

The most important training, though, is to experience life as a writer, questioning everything, inventing multiple explanations for everything. If you do that, all the other things will come; if you don't, there's no hope for you.

When I reached adulthood, even now, I could afford to belong to a country club. But I could never belong to a private club because of my experience as a child, because it would isolate me from the whole of humanity.

No one I know of has ever had this experience-where you had to sit and wait and wait for a DNA test to come back just so you can write the last page of the book.

If you live long enough, you'll experience everything.

Actually I'd had a certain amount of experience in Europe in the inter-war period, as a banker, and I was also a member of the Board of Directors of the International Chamber of Commerce.

In the case of my book, I don't think it's really the coming-out gay novel that everyone really needed, even though it was received as such. The boy is too creepy, he betrays his teacher, the only adult man with whom he's enjoyed a sexual experience, etc.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to do violence.