Baseball is a universe as large as life itself, and therefore all things in life, whether good or bad, whether tragic or comic, fall within its domain.

The most deeply personal of my works are the non-fiction works, the autobiographical works, because there, I'm talking about myself very directly.

It's extremely difficult to get these jobs because you can't get a job on a ship unless you have seaman's paper's, and you can't get seaman's papers unless you have a job on a ship. There had to be a way to break through the circle, and he was the one who arranged it for me.

We grow older, but we do not change. We become more sophisticated, but at bottom we continue to resemble our young selves, eager to listen to the next story and the next, and the next.

Those of us who can remember our childhoods will recall how ardently we relished the moment of the bedtime story, when our mother or father would sit down beside us in the semi-dark and read from a book of fairy tales.

Don't be a writer; it's a terrible way to live your life. There's nothing to be gained from it but poverty and obscurity and solitude. So if you have a taste for all those things, which means that you really are burning to do it, then go ahead and do it. But don't expect anything from anybody.

What keeps me up at night? Anxiety. Anxiety, the inability to go to sleep, it's quite literally that.

If I could write directly on a typewriter or a computer, I would do it. But keyboards have always intimidated me. I've never been able to think clearly with my fingers in that position. A pen is a much more primitive instrument. You feel that the words are coming out of your body and then you dig the words into the page.

I like the sound a typewriter makes.

Changing your mind is probably one of the most beautiful things people can do. And I've changed my mind about a lot of things over the years.

I think it's a very good thing to leave your country and look at it from afar.

I was always interested in French poetry sort of as a sideline to my own work, I was translating contemporary French poets. That kind of spilled out into translation as a way to earn money, pay for food and put bread on the table.

I'm generous. I give good tips. It's just - the way I live my life, ironically enough, is: I don't want anything. I'm not a consumer. I don't crave objects.

Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.

I started out in life as a poet; I was only writing poetry all through my 20s. It wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels; I liked them.

For some reason, all my characters come to me with their names attached to them. I never have to search for the names.

There's love, and certainly children you care about more than yourself. But nevertheless, we're alone in our heads.

People who don't like my work say that the connections seem too arbitrary. But that's how life is.

I was always very curious as a young man about why older writers who I met seemed so indifferent to what was going on, whereas I, in my 20s, was reading everything. Everything seemed important. But they were only interested in the writers they admired when they were young, and I didn't understand it then, but now, now I understand it.

Writing has always had that tactile quality for me. It's a physical experience.

I've always written by hand. Mostly with a fountain pen, but sometimes with a pencil - especially for corrections.

The most challenging project I've ever done, I think, is every single thing I've ever tried to do. It's never easy.

The book that convinced me I wanted to be a writer was 'Crime and Punishment'. I put the thing down after reading it in a fever over two or three days... I said, 'If this is what a book can be, then that is what I want to do.'

The kind of fiction I'm trying to write is about telling the truth.

With a computer, you make your changes on the screen and then you print out a clean copy. With a typewriter, you can't get a clean manuscript unless you start again from scratch. It's an incredibly tedious process.

You see, the interesting thing about books, as opposed, say, to films, is that it's always just one person encountering the book, it's not an audience, it's one to one.

What used to keep me up at night was the fact that I didn't know how I was going to pay the rent. Now that I can pay the rent, I'm worrying about people I care about, you know, the people I love. The little aches and pains of my children that I, my family. That's always first.

I'm really trying to dredge up what one might call intellectual and moral material. For example, when do you realize that you are an American? What age does that happen to you? When do you realize what religion your parents practice? When does it all become conscious? I was interested in exploring all of that.

When I'm writing, I don't feel neurotic. So it's better for the family if I'm working.

No book includes the entire world. It's limited. And so it doesn't seem like an aesthetic compromise to have to do that. There's so much other material to write about.

I don't think of myself as a metafictional writer at all. I think of myself as a classic writer, a realist writer, who tends to have flights of fancy at times, but nevertheless, my feet are mostly on the ground.