ANDRE DUBUS III

Years later I would hear my father say the divorce had left him dating his children. That still meant picking us up every Sunday for a matinee and, if he had the money, an early dinner somewhere.

I feel that writers think with their noses to the ground, and the dark stuff kind of comes to me more, even though I really am sort of an upbeat guy. It's an honest descent into darkness. And you can't have the joy without the grief - it's why we listen to Mozart's 'Requiem.'

Somewhere, sometime I'd stopped expecting my father to father.

I was really surprised at the success of 'House of Sand and Fog,' because it is so awfully dark. Believe it or not, when writing it, I never had the word 'tragedy' in my head - I wasn't trying to write a dark book at all.

I'm one of those writers who can't talk about what they're working on. The entire four years I was writing 'House of Sand and Fog,' my wife never saw a word of it. I just have to keep it in the womb, and then everyone can have a crack at it.

Shyness has a strange element of narcissism, a belief that how we look, how we perform, is truly important to other people.

Most of the time I feel stupid, insensitive, mediocre, talentless and vulnerable - like I'm about to cry any second - and wrong. I've found that when that happens, it usually means I'm writing pretty well, pretty deeply, pretty rawly.

If you don't put 99 percent of yourself into the writing, there will be no publishing career. There's the writer and there's the author. The author - you don't ever think about the author. Just think about the writer. So my advice would be, find a way to not care - easier said than done.

I think the deeper you go into questions, the deeper or more interesting the questions get. And I think that's the job of art.

I got a degree in sociology, didn't read much fiction in college, and I was a pretty political, left-wing type of guy. I wanted to do some kind of work in social change and make things better for the poor man, and I was very romantic and passionate about it.

I work out four days a week in the off-season, and in the warm, running weather months, I do five days. A push/pull regime of weightlifting, cycling, and the occasional Saturday or Sunday run with my oldest son, even if it's cold out.

I really think that if there's any one enemy to human creativity, especially creative writing, its self-consciousness. And if you have one eye on the mirror to see how you're doing, you're not doing it as well as you can. Don't think about publishing, don't think about editors, don't think about marketplace.

Writers have to be careful not to confuse personal attention with the attention that's going towards the book.

I've had a lot of glamour come my way in the last 10 years - you know, movie stars and mansions and red carpets and trips to Europe and crazy stuff I never would have imagined - and I look at them as if I'm the bartender in the corner of the room. They've never gone into my psyche. I look at them with distance, and wonder.

I truly believe the art's larger than the artist. Who cares about John Steinbeck? I care about the Joad family.

My mother was making $135 a week, but she had resilience and imagination. She might take frozen vegetables, cook them with garlic, onion and Spam, and it would taste like a four-star dinner.

As a matter of writing philosophy, if there is one, I try not to ever plot a story. I try to write it from the character's point of view and see where it goes.

I was always a sensitive, sweet kid, but I got brutalized and I became brutal. And frankly, I don't think it was my natural makeup. I don't think its anyone's natural makeup to be a violent brawler.

One of the accidental joys of my writing life has been that I've had some lovely, surprisingly good fortune with readers, and I've brought readers to my dad's work. I can't tell you the joy that gives me. Because my father's work was masterful.

My dad and mom divorced when I was around ten, and I didn't live with him after that, though he was close by and we saw each other weekly. I wasn't really aware that he was a writer; I didn't start reading his writing until I was about fifteen. It occurred to me then that my dad was kind of special; he's still one of my favorite writers.

There are some beautiful books out there. But the ones that leave me cold are the ones where I feel - it's that postmodern thing - it's more experimentation with language than it is a deep compassionate falling into another human being's experience.

my belief in the sacrament of the Eucharist is simple: without touch, God is a monologue, an idea, a philosophy; he must touch and be touched, the tongue on flesh, and that touch is the result of the monologues, the idea, the philosophies which led to faith; but in the instant of the touch there is no place for thinking, for talking; the silent touch affirms all that, and goes deeper: it affirms the mysteries of love and mortality.

The truth is life is full of joy and full of great sorrow, but you can't have one without the other.

Wanting to know absolutely what a story is about, and to be able to say it in a few sentences, is dangerous: it can lead us to wanting to possess a story as we possess a cup... A story can always break into pieces while it sits inside a book on a shelf; and, decades after we have read it even twenty times, it can open us up, by cut or caress, to a new truth.

We receive and we lose, and we must try to achieve gratitude; and with that gratitude to embrace with whole hearts whatever of life that remains after the losses.