What we think we are surely going to do, we don't do; and what we never intended to do, we may one day notice that we have done, and done, and done. … - Cynthia Ozick

The lower imagination, the weaker, falls into the proliferation of images. My hope is someday to be able to figure out a connection between the work of monotheism-imagining and the work of story-imagining. Until now I have thought of these as enemies.

sometimes starting is so difficult. Because it's all chaos. It's the difference between writing an essay, which if it's about Henry James, at least you know that much. But with fiction you don't. It could be a scene in your mind or it could be some kind of tendril that you can barely define. So I have to force it. And then after – and this is real compulsion, real self-flagellation – it kind of takes off. But there's a lot of agony before. And sometimes during. And sometimes all through. But just before the end and revelations start coming, that's the joy. But mostly its hell.

I have argued this question, novel versus essays, and I do come out on the novel side. Because though both these forms use intellect and imagination, they do it in different proportions — the essay more on the intellect side and the novel more on the imaginative side. And the imaginative is freedom. You're at liberty to inhabit other people — including the bad guys — which is sometimes very thrilling, since you won't do it in real life. (On how imagining "the bad guy" relates to empathy) It's the beginning of empathy, indeed. And it's also a place where you can make judgments, where you can enter other people's minds and at the same time subtly, not didactically, not as if you're giving a sermon or a tract. But you can also make judgments, and they can be social judgments, moral judgments, metaphysical judgments.