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Addressing a question he often receives:'Why do you write these strong female characters?' 'Because you're still asking me that question'.
We are again confronted with one of the most vexing aspects of advanced industrial civilization: the rational character of its irrationality. Its productivity and efficiency, its capacity to increase and spread comforts, … the extent to which this civilization transforms the object world into an extension of man's mind and body makes the very notion of alienation questionable. The people recognize themselves in their commodities; they find their soul in their automobile, hi-fi set, split-level home, kitchen equipment. The very mechanism which ties the individual to his society has changed, and social control is anchored in the new needs which it has produced.
The true teacher defends his pupils against his own personal influence. He inspires self-trust. He guides their eyes from himself to the spirit that quickens him. He will have no disciples. A noble artist, he has visions of excellence and revelations of beauty, which he has neither impersonated in character, nor embodied in words. His life and teachings are but studies for yet nobler ideals.
Art must take reality by surprise. It takes those moments which are for us merely a moment, plus a moment, plus another moment, and arbitrarily transforms them into a special series of moments held together by a major emotion. Art should not, it seems to me, pose the real as a preoccupation. Nothing is more unreal than certain so-called realist novels — they're nightmares. It is possible to achieve in a novel a certain sensory truth — the true feeling of a character — that is all.