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That distinctive singular stamp of himself is one of the main reasons readers come to love an author. The way you can just tell, often within a couple paragraphs, that something is by Dickens, or Chekhov, or Woolf, or Salinger, or Coetzee, or Ozick. The quality’s almost impossible to describe or account for straight out — it mostly presents as a vibe, a kind of perfume of sensibility — and critics’ attempts to reduce it to questions of “style” are almost universally lame.

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As a story develops, you must willingly entertain opposite, even repugnant ideas. The finest writers have dialectical, flexible minds that easily shift points of view. They see the positive, the negative, and all shades of irony, seeking the truth of these views honestly and convincingly. This omniscience forces them to become even more creative, more imaginative, and more insightful. Ultimately, they express what they deeply believe, but not until they have allowed themselves to weight each living issue and experience all its possibilities.

The good writer seems to be writing about himself, but has his eye always on that thread of the Universe which runs through himself and all things.

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