#162

“It's the price of being a writer. One is dogged by the past – pain, sensations, rejections, all of it. I believe that this clinging to the past is a zealous, albeit hopeless, desire to reinvent it so that one could change it. Doctors, lawyers, and many other stable citizens are not afflicted by a persistent memory. In their way, they might be just as disturbed as you or I, except that they don't know it. They don't delve” (id, 103).

#161

“The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead. The totalitarian world, whether founded on Marx, Islam, or anything else, is a world of answers rather than questions. There the novel has no place. In any case, it seems to me that all over the world people nowadays prefer to judge rather than to understand, to answer rather than to ask, so that the voice of the novel can hardly be heard over the noisy foolishness of human certainties” (id, 100).

#160

“I have never written about things as they happened. All my works are indeed chapters from my most personal experience, but nevertheless they are not “the story of my life.” The things that happened to me in my life have already happened, they are already formed, and time has kneaded them and give them shape. To write things as they happened means to enslave oneself to memory, which is only a minor element in the creative process. To my mind, to create means to order, sort out, and choose the words and pace that fit the work. The materials are indeed materials from one's life, but ultimately the creation is an independent creature” (Roth, 2002: 27).

ROTH, Philip (2002). Shop Talk. London: Vintage.