And it was about then, about that time, that I began to find life unsatisfactory as an explanation of itself and was forced to adopt the method of the artist of not explaining but putting the blocks together in some other way that seems more significant to him. Which is a rather fancy way of saying I started writing.
It is, perhaps more than anything else, the arrest of time which has taken place in a completed work of art that gives certain plays their feeling of depth and significance.
I don’t believe in villains or heroes, only in right or wrong ways that individuals are taken, not by choice, but by necessity or by certain still uncomprehended influences in themselves, their circumstances and their antecedents.
The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.
