Greg Zimmermann

“Making you believe what he wanted you to believe was his very reason for being. Maybe his only reason. I was intrigued by the way he turned events, or hints I had given him about people, into reality--that is, his kind of reality. This obsessive reinvention of the real never stopped, what-could-be having always to top what is.
...
I began to wonder which was real, the woman in the book or the one I was pretending to be upstairs. Neither of them was particularly "me." I was acting just as much upstairs; I was not myself just as much Maria in the book was not myself. Perhaps she was. I began not to know which was true and which was not, like a writer who comes to believe that he's imagined what he hasn't.
...
The book began living in me all the time, more than my everyday life.”
― Philip Roth, The Counterlife

“No, I won't do it. I will not be locked into your head in this way. I will not participate in this drama for the sake of your fiction. Oh, darling, the hell with your fiction.”
― Philip Roth, The Counterlife

“Now Sentimental Education doesn't read as if Flaubert was having fun; Letter to His Father doesn't read as if Kafka was having fun; The Sorrows of Young Werther sure as hell doesn't read as if Goethe was having fun. Sure, Henry Miller seems like he's having fun, but he had to cross three thousand miles of Atlantic before saying 'cunt'.”
― Philip Roth, The Counterlife

“Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.”
― Marcel Proust, Time Regained