We Commit Our Crimes At Night And

The Figure Of The Gunman In The Window Was Inextricable From The Victim And His History. This Sustained Oswald In His Cell. It Gave Him What He Needed To Live. The More Time He Spent In A Cell, The Stronger He Would Get. Everybody Knew Who He Was Now.

The World Is Full Of Abandoned Meanings. In The Commonplace I Find Unexpected Themes And Intensities.

Sitting For A Picture Is Morbid Business. A Portrait Doesn't Begin To Mean Anything Until The Subject Is Dead. This Is The Whole Point. We're Doing This To Create A Kind Of Sentimental Past For People In Decades To Come. It's Their Past, Their History We're Inventing Here. And It's Not How I Look Now That Matters. It's How I'll Look In Twenty-five Years As Clothing And Faces Change, As Photographs Change. The Deeper I Pass Into Death, The More Powerful My Picture Becomes. Isn't This Why Picture-taking Is So Ceremonial? It's Like A Wake. And I'm The Actor Made Up For The Laying-out.

In This Century The Writer Has Carried On A Conversation With Madness. We Might Almost Say Of The Twentieth-century Writer That He Aspires To Madness. Some Have Made It, Of Course, And They Hold Special Places In Our Regard. To A Writer, Madness Is A Final Distillation Of Self, A Final Editing Down. It's The Drowning Out Of False Voices.

In My Experience, Writing A Novel Tends To Create Its Own Structure, Its Own Demands, Its Own Language, Its Own Ending. So For Much Of The Period In Which I'm Writing, I'm Waiting To Understand What's Going To Happen Next, And How And Where It's Going To Happen. In Some Cases, Fairly Early In The Process, I Do Know How A Book Will End. But Most Of The Time, Not At All, And In This Particular Case, Many Questions Are Still Unanswered, Even Though I've Been Working For Months.