Unless one is inordinately fond of subordination, one is always at war.

Just like those who are incurably ill, the aged know everything about their dying except exactly when.

A Jewish man with parents alive is a fifteen-year-old boy, and will remain a fifteen-year-old boy until they die!

History... is a nightmare from which I am trying to awake.

When you publish a book, it's the world's book. The world edits it.

A Jew without Jews, without Judaism, without Zionism, without Jewishness, without a temple or an army or even a pistol, a Jew clearly without a home, just the object itself, like a glass or an apple.

Should you protect profits? Yes. But run for the hills? No.

The road to hell is paved with works-in-progress.

Unless one is inordinately fond of subordination, one is always at war.

Is an intelligent human being likely to be much more than a large-scale manufacturer of misunderstanding?

Obviously the facts are never just coming at you but are incorporated by an imagination that is formed by your previous experience. Memories of the past are not memories of facts but memories of your imaginings of the facts.

Fear tends to manifest itself much more quickly than greed, so volatile markets tend to be on the downside. In up markets, volatility tends to gradually decline.

A writer has to be driven crazy to help him to see. A writer needs his poisons.

All that we don't know is astonishing. Even more astonishing is what passes for knowing.

As I see it, my focus has never been on masculine power rampant and triumphant but rather on the antithesis: masculine power impaired.

As for the kind of writer I am? I am who I don't pretend to be.

At night, I read. I read for two hours. I just finished a marvelous book by Louise Erdrich, 'The Round House.' But mostly I read 20th-century history and biography. I lived then. I was either a child or at school or at work.

Fluency can be a sign that nothing is happening; fluency can actually be my signal to stop, while being in the dark from sentence to sentence is what convinces me to go on.

For all I know, I am beginning with the ending. My page one can wind up a year later as page two hundred, if it's still even around.

For me, the passing of time has provided me with subjects I never had before. Subjects I can now look at from a historical perspective. Like the anti-communist era in America. I lived through that. I was a boy; I didn't find a way to write about it until many years later. The same with the Vietnam War.

I cannot and do not live in the world of discretion, not as a writer, anyway. I would prefer to, I assure you - it would make life easier. But discretion is, unfortunately, not for novelists.

I don't ask writers about their work habits. I really don't care.

I don't know any writer for whom it comes easily. Maybe John Updike - a story would just seem to come to him whole, you know, out of a personal experience. But the rest of us, I think, are not so lucky, and I had to work hard, yeah.

I have no desire to write fiction. I did what I did, and it's done. There's more to life than writing and publishing fiction. There is another way entirely, amazed as I am to discover it at this late date.

I needed my life as a springboard for my fiction. I have to have something solid under my feet when I write. I'm not a fantasist. I bounce up and down on the diving board, and I go into the water of fiction. But I've got to begin in life so I can pump life into it throughout.

I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.

I think I write and publish as often as I do because I can't bear being without a book to work on... I don't feel I have this to say or that to say or this story to tell, but I know I want to be occupied with the writing process while I'm living.

I work all day, morning and afternoon, just about every day. If I sit there like that for two or three years, at the end I have a book.

I write fiction and I'm told it's autobiography, I write autobiography and I'm told it's fiction, so since I'm so dim and they're so smart, let them decide what it is or it isn't.

I'm not good at finding 'encouraging' features in American culture. I doubt that aesthetic literacy has much of a future here.

I've stopped reading fiction. I don't read it at all. I read other things: history, biography. I don't have the same interest in fiction that I once did.

If I don't measure up as an American writer, at least leave me to my delusion.

It was my great problem to solve: how to write a book, you know. And after you write one, you have to write another to prove to yourself you can do it again.

Let me tell you about the nap. It's absolutely fantastic. When I was a kid, my father was always trying to tell me how to be a man. And he said - I was maybe nine - he said, 'Philip, whenever you take a nap, take your clothes off and put a blanket over you, and you're going to sleep better.' Well, as with everything, he was right.

Life is just a short period of time in which you are alive.

Literature isn't a moral beauty contest. Its power arises from the authority and audacity with which the impersonation is pulled off; the belief it inspires is what counts.

Making fake biography, false history, concocting a half-imaginary existence out of the actual drama of my life is my life.

My goal would be to find a big, fat subject that would occupy me to the end of my life, and when I finish it, I'll die. What's agony is starting; I hate starting them. I just want to keep writing now and end when it ends.

My traducers propound my alleged malefaction as though I have spewed venom on women for half a century. But only a madman would go to the trouble of writing 31 books in order to affirm his hatred.

Nothing keeps its promise.

Novel-writing is, for the novelist, a game of let's pretend.

Of course you bank on your experience, but as a sounding board. It isn't that you write down what happens to you every day. You wouldn't be a writer if you did that.

Old age isn't a battle; old age is a massacre.

People are unjust to anger - it can be enlivening and a lot of fun.

Routinely, when I finish a book, I think 'What will I do? Where will I get an idea?' And a kind of low-level panic sets in.

Sheer Playfulness and Deadly Seriousness are my closest friends.

That's what you're looking for as a writer when you're working. You're looking for your own freedom. To lose your inhibition to delve deep into your memory and experiences and life and then to find the prose that will persuade the reader.

The novelist's obsession, moment by moment, is with language: finding the right next word.

To read a novel requires a certain amount of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel, really.