Translation is an interestingly different way to be involved both with poetry and with the language that I've found myself living in much of the time. I think the two feed each other.
When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.
The pleasure that I take in writing gets me interested in writing a poem. It's not a statement about what I think anybody else should be doing. For me, it's an interesting tension between interior and exterior.
The pull between sound and syntax creates a kind of musical tension in the language that interests me.
If kids like a picture book, they're going to read it at least 50 times. Read anything that often, and even minor imperfections start to feel like gravel in the bed.
I have one main reader, Miriam Gomez, my wife. She reads everything I write - I have not finished writing something and she is already reading it.
The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.
I was never a true journalist, I was a movie critic.
When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.
Secret families are really the bedrock issue of Western literature.
The adolescent protagonist is one of the hallmarks of American literature.
The publishing industry, unsurprisingly, is full of different people who love different things and express that love in different languages. Find the people, the editors and agents, with whom you share some language, and some sense of what makes literature worth reading.
I believe that the power of literature is stronger than the power of tyranny.
What we value about music and literature are the moments that they create in our minds when we encounter them.
To me, this is the singular privilege of reading literature: we are allowed to step into another's life.
I am always coming up with architectural metaphors when I think about writing. But I think one of the things that draw us to literature is that it gives us this very attractive illusion that there is meaning in the world - things connect.
In literature, the ghost is almost always a metaphor for the weight of the past. I don't believe in them in the traditional sense.
Whilst in Prussia poets only speak of the love of country as one of the dearest of all human affections, here there is no man who does not feel, and describe with rapture, how much he loves his country.
The church of St. Peter at Berlin, notwithstanding the total difference between them in the style of building, appears in some respects to have a great resemblance to St. Paul's in London.
People have different views of how you deal with different issues in literature, and, frankly, long may it last that there is a range of views.
All prizes have a role, if they are run with integrity and with a clear focus on reading and quality writing. I don't think any of them is necessary, but they all play an incredibly important role in building a body of literature, in introducing new authors to new readers, and extending reading.
I never saw anything that would qualify as a criminal activity.
The fact of the Watergate cover-up is not nearly as interesting as the step into making the cover-up. And when you understand the step, you understand that Richard Nixon lied. That he was a criminal.
You never find an Englishman among the under-dogs except in England, of course.
I don't fret over lost time - I can always use the situations in a novel.
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