JOHN KESSEL

Kafka is not interested in documenting the manners and mores of any particular place; he is not interested in probing the psyche of individual characters.

One of the influences of Kafka over later writers is not so much in the content of his work as in its form.

I don't know if this is a stumbling block, but I had a real setback when I won a Nebula Award for the first story I ever had nominated for a Nebula in 1982. And you might think that was a good thing - and it was a wonderful thing, I don't regret it a bit. But I was sort of discombobulated by it.

Coaching is something that takes place only when learning does. No matter what you are doing in your practices, if your players are not learning something significant, you're really not coaching. If a player fails in a game, the coach may have failed in practice.

The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.

No jockey ever won a race by carrying the horse across the finish line; no coach ever won a volleyball match by touching the ball during play.

Since my first encounter with Kafka's writing, I've been interested in a quality that, while he was alive, stood in the way of his achieving a large reputation: his allegory.

Kafka's inevitable tropism for the allegorical puts him in marked opposition to the realism that dominated the literary world of the first half of the 20th century.

There must be a dozen films now based on Philip K. Dick novels or stories, far more than any other published science fiction writer. He's sort of become the go-to guy for weird science fiction notions.