What writers have is a license also the freedom to sit – to sit, clench their fists, and make themselves be excruciatingly aware of the stuff that we’re mostly aware of only on a certain level. And that if the writer does his job right, what he basically does is remind the reader how smart the reader is. Is to wake the reader up to stuff that the reader’s been aware of all the time. And it’s not a question of the writer having more capacity than the average person. It’s that the writer is willing I think to cut off, cut himself off from certain stuff, and develop…and just, and think really hard. Which not everybody has the luxury to do.
But I gotta tell you, I just think to look across the room and automatically assume that somebody else is less aware than me, or that somehow their interior life is less rich, and complicated, and acutely perceived than mine, makes me not as good a writer. Because that means I’m going to be performing for a faceless audience, instead of trying to have a conversation with a person.
Trying to show how much he doesn’t like publicity. Except if he isn’t a genius, there’s no good reason to read the novel. You don’t open a one-thousand-page book because you’ve heard the author’s a nice guy. You read it – once you prop the thing open at all – because you understand the author is brilliant. He’s grabbed the wrong lesson: The people who seem to adore the press the way, say, Pooh loves a honey jar, look foolish; but the people who seem to hate it also risk foolishness too, because the reader knows how good press must feel, like having the prettiest girl in school drop you a smile. Like having the whole country rub against your toes and twist between your ankles.
So I think it’s got something to do with, that we’re just – we’re absolutely dying to give ourselves away to something. To run, to escape, somehow. And there’s some kinds of escape – in a sort of Flannery O’Connorish way-that end up, in a twist, making you confront yourself even more.
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