If the book is a mystery to its author as she's writing, inevitably it's going to be a mystery to the reader as he or she reads it.
Interpretation
An author’s uncertainty in their writing leads to a similar confusion for readers.
This quote by Nicole Krauss emphasizes the idea that if an author does not have a clear understanding of the narrative or the characters they are creating, it will reflect in the final product. As a result, readers will struggle to grasp the story's essence, leading to a lack of engagement or clarity. It highlights the importance of the writer's comprehension and intention in effectively communicating a story.
In practice
During a writing workshop to discuss the complexities of narrative structure.
To touch and feel each thing in the world, to know it by sight and by name, and then to know it with your eyes closed so that when something is gone, it can be recognized by the shape of its absence. So that you can continue to possess the lost, because absence is the only constant thing. Because you can get free of everything except the space where things have been.
For her I changed pebbles into diamonds, shoes into mirrors, I changed glass into water, I gave her wings and pulled birds from her ears and in her pockets she found the feathers, I asked a pear to become a pineapple, a pineapple to become a lightbulb, a lightbulb to become the moon, and the moon to become a coin I flipped for her love.
Only later did I come to understand that to be a mother is to be an illusion. No matter how vigilant, in the end a mother can't protect her child - not from pain, or horror, or the nightmare of violence, from sealed trains moving rapidly in the wrong direction, the depravity of strangers, trapdoors, abysses, fires, cars in the rain, from chance.
I’ve always liked the feeling of traveling light; there is something in me that wants to feel I could leave wherever I am, at any time, without any effort. The idea of being weighed down made me uneasy, as if I lived on the surface of a frozen lake and each new trapping of domestic life - a pot, a chair, a lamp - threatened to be the thing that sent me through the ice.
When we went into the ocean, I watched his body as he dove into the waves, and it gave me a feeling in my stomach that wasn't an ache but something different.
Herman slipped his hand into mine, and I thought, An average of seventy-four species become extinct every day, which was one good reason but not the only one to hold someone's hand, and the next thing that happened was we kissed each other, and I found I knew how, and I felt happy and sad in equal parts, because I knew that I was falling in love, but it wasn't with him.
I think I belong to America's last generation of novelists. Novelists will come one by one from now on, not in seeming families, and will perhaps write only one or two novels, and let it go at that.
A novel is not moral in the usual sense of the word. It can be called moral when it shakes us out of our stupor and makes us confront the absolutes we believe in.
Anyone who has the temerity to write about Jane Austen is aware of [two] facts: first, that of all great writers she is the most difficult to catch in the act of greatness; second, that there are twenty-five elderly gentlemen living in the neighbourhood of London who resent any slight upon her genius as if it were an insult to the chastity of their aunts.
Every word a woman writes changes the story of the world, revises the official version.
When we're done with it, we may find—if it's a good novel—that we're a bit different from what we were before we read it, that we have been changed a little, as if by having meet a new face, crossed a street we've never crossed before.
I do reread, kind of obsessively, partly for the surprise of how the same book reads at a different point in life, and partly to have the sense of returning to an old friend.
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