There are some things people avoid saying in interviews because they sound pompous or sentimental or too mystical.
I think young writers ought to be heretical.
I made a vow that I wouldn't be tempted by what could happen to me if I went to Europe. I thought, 'You could be absorbed in it - it's so seductive, you might lose your own search for identity.' Then, when I did finally go to Europe, I was able to resist it because I had established my own identity.
I have to live, socially, in an almost unfinished society. Among the almost great, among the almost true, among the almost honest. That allows me to describe the anguish.
Like any art, what is the most imprisoning thing is also the most delivering thing. If an actor knows he only has 12 syllables in a line, the challenge is, 'How can I interpret the meaning and contain it without going one syllable over?'
I can't tear up a poem and be a sound bite for you. Why is that so hard for anyone to understand?
