“The meaning of a story should go on expanding for the reader the more he thinks about it, but meaning cannot be captured in an interpretation. If teachers are in the habit of approaching a story as if it were a research problem for which any answer is believable so long as it is not obvious, then I think students will never learn to enjoy fiction. Too much interpretation is certainly worse than too little, and where feeling for a story is absent, theory will not supply it.”

“I don’t think meaning exists without form, and certainly form does not exist without meaning. Meaning and story come first. Story is the most important part of fiction. Without it, what’s the point? If all you care about is form, become a critic.”

“There have been so many interpretations of the story that I'm not going to choose between them. Make your own choice. They contradict each other, the various choices. The only choice that really matters, the only interpretation of the story, if you want one, is your own. Not your teacher's, not your professor's, not mine, not a critic's, not some authority's. The only thing that matters is, first, the experience of being in the story, moving through it. Then any interpretation you like. If it's yours, then that's the right one, because what's in a book is not what an author thought he put into it, it's what the reader gets out of it.”

“Every life is a story. Every story has mistakes. If you focus too much on the mistakes, you will miss the story. In doing that, you are making a dreadful mistake yourself. Sometimes, it is the mistakes that enrich and give the story so much more meaning than it would have had otherwise.”

“This is our story to tell. You’d think for all the reading I do, I would have thought about this before, but I haven’t. I’ve never once thought about the interpretative, the story telling aspect of life, of my life. I always felt like I was in a story, yes, but not like I was the author of it, or like I had any say in its telling whatsoever.”

“Art, she said, is more nuanced than life. If a teacher is lecturing and looking out of smudged windows, smeared with obscenities (sure enough, ours were) it doesn't mean anything, in life, except that the cleaning crews are lazy. But in a story, if a professor is lecturing and the windows are smudged, we are obliged to think that his words are similarly untrandescent, right? ...One of the great problems with artists, she said, is that they don't keep nuance and nature distinct. Import raw nature into a story or a poem and you've only ruined a story. Import nuance into life and you'll go mad. There'll suddenly be too much significance everywhere, a message in everything.”