How can we—your students—improve ourselves as writers?
It’s hard to talk about something like that without sounding prescriptive, but I think that there’s a reluctance in all writers in early stages of their development to really commit themselves to trust their interests as being actually focused on things that are interesting. To realize that they do not have to talk in the same dialect that is being talked around them, in terms of literary convention and all the rest of it. Something that I sometimes say, and even sometimes believe, is that there has been a loss of the cult of genius. When I was younger, I remember going around totally deluded by the idea that other people might, in fact, be geniuses or at least be able to express this in any intelligible fashion. The idea that you might do something radically brilliant—that assumption is very empowering and it has given the world a lot of really interesting things to look at. It’s a side effect of the cult of normality—the idea that it would be preposterous and perhaps undesirable to single yourself out in that way. I think that’s why a lot of stuff that basically amounts to breaking china is seen as being creative when, in fact, it’s as subservient to prevailing norms as anything else is, as obedience to them would be.