The Central Problem Of Novel-writing Is Causality.

I Suppose Identity Depends On Memory. And If My Memory Is Blotted Out, Then I Wonder If I Exist - I Mean, If I Am The Same Person. Of Course, I Don't Have To Solve That Problem. It's Up To God, If Any.

All That Happens To Us, Including Our Humiliations, Our Misfortunes, Our Embarrassments, All Is Given To Us As Raw Material, As Clay, So That We May Shape Our Art.

The Gods Weave Misfortunes For Men, So That The Generations To Come Will Have Something To Sing About.” Mallarmé Repeats, Less Beautifully, What Homer Said; “tout Aboutit En Un Livre,” Everything Ends Up In A Book. The Greeks Speak Of Generations That Will Sing; Mallarmé Speaks Of An Object, Of A Thing Among Things, A Book. But The Idea Is The Same; The Idea That We Are Made For Art, We Are Made For Memory, We Are Made For Poetry, Or Perhaps We Are Made For Oblivion. But Something Remains, And That Something Is History Or Poetry, Which Are Not Essentially Different.

It Is Worth Remembering That Every Writer Begins With A Naively Physical Notion Of What Art Is. A Book For Him Or Her Is Not An Expression Or A Series Of Expressions, But Literally A Volume, A Prism With Six Rectangular Sides Made Of Thin Sheets Of Papers Which Should Include A Cover, An Inside Cover, An Epigraph In Italics, A Preface, Nine Or Ten Parts With Some Verses At The Beginning, A Table Of Contents, An Ex Libris With An Hourglass And A Latin Phrase, A Brief List Of Errata, Some Blank Pages, A Colophon And A Publication Notice: Objects That Are Known To Constitute The Art Of Writing.

If I Write A Fantastic Story, I'm Not Writing Something Willful. On The Contrary, I Am Writing Something That Stands For My Feelings, Or For My Thoughts. So That, In A Sense, A Fantastic Story Is As Real And Perhaps More Real Than A Mere Circumstantial Story. Because After All, Circumstances Come And Go, And Symbols Remain.