If you realize that you have done this, you need to stop and look at your characters again. You’ve got to go into these people, and since you don’t know them, this means that you need to go into you, wonderful you, who has so many problems and idiosyncrasies—you, who will be able to figure out what is true for these people and hence, what they would or would not do in a given situation.

My trip to Egypt and the book that emerged from it now seem to me an embodiment of my own struggle to clarify, to release from anxiety the narrator who could serve the situation and find the story—a thing I was not then able to do.

I didn’t want to write too much about myself, but if I didn’t honestly talk about what needed to be said, writing this book would have been pointless. I needed to revisit the manuscript many times over a period of time; otherwise I wouldn’t have been able to explore these delicate layers.

Our memories do not visit us in chronology, and the story we form by joining up the memories involves choices with the purpose of making a whole and finding a pattern.

You said it yourself. I always noticed them. I noticed them because I couldn’t help it. Only from the inside can you know what it’s like from the inside. Understanding isn’t just knowing or learning what it is but knowing what it’s like.