Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.
The subject matter of the stories on the surface… there seem to be a number of stories about travel.
Our stories come from our lives and from the playwright’s pen, the mind of the actor, the roles we create, the artistry of life itself and the quest for peace.
My level of intervention in the press, trying to control stories, is zero. Subzero.
The international media concentrates on the famous, the big names. Al Jazeera goes to the margins, investigates stories that are still developing and in the future become very big. Why did the Arabic world love Al Jazeera? Everybody felt he was represented in the newsroom and on the screen. That kind of belonging is ours.
My first serious attempts at writing were made in 1868, and I took up two very different lines of composition; I wrote some short stories of a very flimsy type, and also a work of a much more ambitious character, ‘The Lives of the Black Letter Saints.’
I started out in graduate school to be a fiction writer. I thought I wanted to write short stories. I started writing poems at that point only because a friend of mine dared me to write a poem. And I took the dare because I was convinced that I couldn’t write a good poem… And then it actually wasn’t so bad.
I was 17 when I decided to write stories as big as cathedrals, overflowing with the kind of memorable and audacious characters Walker Percy, Ernest Hemingway and Saul Bellow created.