There’s a great interview with Fran Lebowitz in the New York Times:
When do you read?
Pretty much all the time. Especially if I’m supposed to be doing something else. I was very frequently punished for reading as a child because I was reading when I was supposed to be doing homework. I got in trouble in school for reading, I got in trouble at home for reading. My mother would actually bang on my door and say, “I know you’re reading in there!” In my adult life, I’ve gotten in trouble for reading because I’m not writing when I’m reading. So it’s really rare that reading is unaccompanied by guilt for me. But I’ve learned to live with it. I feel guilty pretty much all the time.
The only time I read without feeling guilty is on a plane, because what else could I possibly be doing?
What moves you most in a work of literature?
I think it might be the word “move” that kind of perplexes me, because that’s a word connected with emotion. I don’t really seek out emotion when reading. The feeling that’s most important to me when reading is that I’m absorbed. I just want to be taken away. I really like being dazzled. That would be nice. The thing I care least about in reading is the story. I just don’t care that much about stories. That may have to do with being older. Tell me a story I don’t know.
But really, I read in order not to be in life. Reading is better than life. Without reading, you’re stuck with life.
I also highly recommend two other Lebowitz interviews.
You never enjoyed writing?
I used to love to write. As a child I used to write all the time. I loved to write up until the second I got my first professional writing job. It turns out it’s not that I hate to write. I hate, simply, to work. I just hate to work, period. I am profoundly slothful. Practically inert. I have no energy. I never have. I just have no desire to be productive. Now that I realize I don’t hate to write, that I just hate to work, it makes writing easier.
And The Awl from 2012:
I’ve read about other artists and writers who lived through the worst of the AIDS epidemic and felt like they had to take a break from their art. While reading your book, I wondered if that might have been the case with you, because the world you described was essentially obliterated.
It is exceptionally charitable that you call these 900 years “a break” but I’ll take that. And yes, it was very shocking to live through. It’s always shocking to young people when their contemporaries die. Even in a war, it’s shocking. I mean, as a soldier. It was shocking, especially because we were the only generation that thought sex was really good, like vitamins. We thought that about drugs too, okay? Sex was really good and the more sex the better. It was helpful. Like now, the way people think of bike riding, which I think is a childish activity. I know people now think the bike is a sign of virtue and I think it’s a toy, but we said sex was good for you and it turned out to it could be bad for you. Really bad. And yeah, people became terrified, of course. People were “terror-stricken” is the term I would use. And because when you look at it in retrospect, like all things you look at in retrospect, it seems very linear. The great thing about history is that it’s in the past and people have time to compile a narrative, but that’s not how it seems when you are living through it.
(NYT piece via Kottke)