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.

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.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

Concerning culture as a process, one would say that it means learning a great many things and then forgetting them; and the forgetting is as necessary as the learning.

No doubt Western civilization has in the past been full of wars and revolutions, and the national elements in our culture, even when they were ignored, always provided an unconscious driving force of passion and aggressive self-assertion.

The things that I draw on, and the world that I feel part of, aren't particularly youth culture.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

You're a Catholic in Italy when you're born, it's unthinkable to stop being Catholic. You just take the rules a lot more seriously, because it pervades your culture.

Sex and drugs were simply not discussed in our culture at that time.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

Lives have been altered in fundamental ways, and later, after they acquire a more complete understanding of what goals are actually attainable, many are left facing a lot of pain and frustration. And yet, there's no culture of complaint.

I've always been interested in the relationship between total external surround, culture, the political matrix, technology, etc., and the internal human consciousness.

Writing is about culture and should be about everything. That's what makes it what it is.

And there are so many people in the third world suffering so horribly right now, and we are so focused on ourselves and our culture that a lot of things are showing up in our culture that are making it impossible for us to focus on others. We're so self-focused.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Mr. Speaker, genocide is the most potent of all crimes against humanity because it is an effort to systematically wipe out a people and a culture as well as individual lives.