Events, once happened, lose reality, alter with a glance, a storm, a night. In time, the past never happened. But who could know? Who could know that the past is not as solid as this instant.
I consider myself an essayist and a fiction writer. In the essays, I certainly have been influenced by some of the leading science essayists. Like Loren Eiseley, Stephen Jay Gould, Lewis Thomas.
I love the fact publishers are still publishing unprofitable material. It's a challenge to the powers that be. It's saying there is a real literature in this country and we will keep publishing it.
In a world of fixed future, life is an infinite corridor of rooms, one room lit at each moment, the next room dark but prepared. We walk from room to room, look into the room that is lit, the present moment, then walk on. We do not know the rooms ahead, but we know we cannot change them. We are spectators of our lives.
In our constant search for meaning in this baffling and temporary existence, trapped as we are within our three pounds of neurons, it is sometimes hard to tell what is real. We often invent what isn't there. Or ignore what is. We try to impose order, both in our minds and in our conceptions of external reality. We try to connect. We try to find truth. We dream and we hope. And underneath all of these strivings, we are haunted by the suspicion that what we see and understand of the world is only a tiny piece of the whole.
The history of science can be viewed as the recasting of phenomena that were once thought to be accidents as phenomena that can be understood in terms of fundamental causes and principles.
I have a family and you know very well the time that that takes. That's good time. I have a couple hobbies. I'm a runner and play tennis. In the summer my family and I uproot ourselves and go live in Maine for the summer. We have a house on a very tiny island in Maine. Which is really my spiritual center. We've been going there for ten years, and it has no ferry service, no bridges, no telephone service. It's really isolated.
Novels aren't pedagogical instruments, or instructions in law or physics or any other discipline. A novel has to be an emotional experience, a trip of the imagination, and because science has raised so many issues that concern and affect humans, it's a good starting place for me.
Another strand of my writing is the importance of the idea. If you think about fiction writing as a spectrum, where at one end of the spectrum in the infrared, are the story tellers, and the people for whom creation of wonderful characters and telling a good story is the most important thing.
With infinite life comes an infinite list of relatives. Grandparents never die, nor do great grandparents, great-aunts…and so on, back through the generations, all alive and offering advice. Sons never escape from the shadows of their fathers. Nor do daughters of their mothers. No one ever comes into his own…Such is the cost of immortality. No person is whole. No person is free.
One day I'm going to write a book about osprey. It has really gotten deep into my bloodstream. So when you ask what else I do, I feel like this is part of what I do....is to watch these birds.
You say, "Something important really happened here. I really had hold of something I was visited by the muse." And that's enough to make you continue the months and years to finish the whole book.
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
My writings are an exploration, and I think a lot of writers would tell you this, but in writing, you're not simply putting down things that are already known to you. You're actually discovering in the writing process, you're actually creating knowledge.