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.
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.
This is so simple I’m ashamed to say it, but I’m sure it’s true. In fact, I would bet my life on it! And that’s why I don’t understand why our propaganda machines are always trying to teach us, to persuade us, to hate and fear other people on the same little world that we live in.
When you’re going through a period of unhappiness, a broken love affair, the death of someone you love, or some other disorder in your life, then you have no refuge but writing.
I don’t believe in “original sin.” I don’t believe in “guilt.” I don’t believe in villains or heroes – only right or wrong ways that individuals have taken, not by choice but by necessity or by certain still-uncomprehended influences in themselves, their circumstances, and their antecedents.
We are all of us born, live and die in the shadow of a giant question mark that refers to three questions: Where do we come from? Why? And where, oh where, are we going!
I have always been pushed by the negative. The apparent failure of a play sends me back to my typewriter that very night, before the reviews are out. I am more compelled to get back to work than if I had a success.
