Chaim Potok

I'm constantly revising. Once the book is written and typed, I go through the entire draft again.

Well, in The Chosen, Danny Saunders, from the heart of his religious reading of the world, encounters an element in the very heart of the secular readings of the world - Freudian psychoanalytic theory.

But today we become aware of other readings of the human experience very quickly because of the media and the speed with which people travel the planet.

I think most serious writers, certainly in the modern period, use their own lives or the lives of people close to them or lives they have heard about as the raw material for their creativity.

As a species we are always hungry for new knowledge.

In other words, Judaism is not Calvinism.

Each work seems to give me the most trouble at the time I'm working on it.

I'm not altogether certain that a fundamentalism of necessity has to argue that it is the only reading of the human experience in order to stay alive.

Two hundred or more years ago most people on the planet were never aware of any reality other than the one into which they were brought up.

It is impossible to fuse totally with a culture for which you feel a measure of antagonism.

Yes, there is some thought about making a film of My Name Is Asher Lev.

And yet there are some magnificent things from Freud, profound insights into the nature of man.

I think the hardest part of writing is revising. And by that I mean the following: A novelist has to create the piece of marble and then chip away to find the figure in it.

It is inconceivable to me that a million or three million or half a million human beings will think and feel precisely the same way on any single subject.

What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.

Well, one hopes that if you're really related to the core of your particular culture, you have profound commitments to it, and that you are aware of how much you can strain it before you do violence to its essential nature.

A non-fiction writer pretty much has the shape of the figure in front of him or her and goes about refining it. A work of non-fiction is not as difficult to write as a work of fiction, but it's not as satisfying in the end.

To the extent that I come from a deeply religious tradition and have been contending with those beginnings all of my life - that constitutes the subject of much of my early fiction.

There is in my work a very strong religious foreground and background. In the later work some of that tends to diminish, but it's certainly present in the early work.

I get up around 6:30. I work from about 8:00 to 1:00, take a break for lunch, work again until about 5:00, and then go for a long walk and have dinner. Then, if my wife and I have no previous plans, we decide what to do for the evening.