When I gave up science I had a blind confidence that in writing I could will myself into a nonentity. I had for a few years relished that status, living among the characters who did not know my existence. But how does one remain forever an emotional hanger-on when one wants the characters to live, if not better, or more honestly, or more wisely, at least more fully? Uncharitably one writes in order to stop oneself from feeling too much; uncharitably one writes to become closer to that feeling self.

All people lie, in their writing as much as in their lives. It frustrates me that I hold on to an unrealistic belief: there is some irrefutable truth in each mind, and the truth is told without concealment or distortion in a letter or in a journal entry. My obligation is to look for that truth; finding it will offer me the certainty I don’t have in me. With that certainty I will find a way to build a solid self. This burden I never take on while reading or writing fiction.

A metaphor’s desire to transcend diminishes any human story; its ambition to illuminate blinds those who create metaphors. In my distrust of metaphors I feel a kinship to George Eliot: “We all of us, grave or light, get our thoughts entangled in metaphors, and act fatally on the strength of them.” This, I know, is what my husband was questioning years ago. But my abandonment of my first language is personal, so deeply personal that I resist any interpretation—political or historical or ethnographical.

That one could reach a point where the border between public and private language no longer matters is frightening. Much of what one does—to avoid suffering, to seek happiness, to stay healthy—is to keep a safe space for one’s private language. The automatic participation in life, however, can turn that space into a secured tomb. Those who have lost that space have only one language left. My grandmother, according to my mother and her siblings, had become a woman who talked to the unseen before being sent to the asylum to die. There is so much to give up: hope, freedom, dignity. A private language defies any confinement. Death alone can take it away.

A writer and a reader should never be allowed to meet. They live in different time frames. When a book takes on a life for a reader it is already dead for the writer.

It is preposterous for the writer or the reader to trespass, yet both sides often dismiss the border set by the characters: when a writer insists on his presence (on the page, between the lines) to dictate how his work is to be read; or when a reader reads without true curiosity about the characters, but with a goal of judging the writer.