"I have come to see this fear, this sense of my own imperilment by my creations, as not only an inevitable, necessary part of writing fiction but as virtual guarantor, insofar as such a thing is possible, of the power of my work: as a sign that I am on the right track, that I am following the recipe correctly, speaking the proper spells. Literature, like magic, has always been about the handling of secrets, about the pain, the destruction and the marvelous liberation that can result when they are revealed. Telling the truth, when the truth matters most, is almost always a frightening prospect. If a writer doesn't give away secrets, his own or those of the people he loves; if she doesn't court disapproval, reproach and general wrath, whether of friends, family, or party apparatchiks; if the writer submits his work to an internal censor long before anyone else can get their hands on it, the result is pallid, inanimate, a lump of earth. The adept handles the rich material, the rank river clay, and diligently intones his alphabetical spells, knowing full well the history of golems: how they break free of their creators, grow to unmanageable size and power, refuse to be controlled. In the same way, the writer shapes his story, flecked like river clay with the grit of experience and rank with the smell of human life, heedless of the danger to himself, eager to show his powers, to celebrate his mastery, to bring into being a little world that, like God's, is at once terribly imperfect and filled with astonishing life.

Literature, like magic, has always been about the handling of secrets, about the pain, the destruction, and the marvelous liberation that can result when they are revealed. Telling the truth when the truth matters most is almost always a frightening prospect. If a writer doesn't give away secrets, his own or those of the people he loves; if she doesn't court disapproval, reproach, and general wrath, whether of friends, family, or party apparatchiks; if the writer submits his work to an internal censor long before anyone else can get their hands on it, the result is pallid, inanimate, a lump of earth.

The real enemy" is the totality of physical and mental constraints by which capital, or class society, or statism, or the society of the spectacle expropriates everyday life, the time of our lives. The real enemy is not an object apart from life. It is the organization of life by powers detached from it and turned against it. The apparatus, not its personnel, is the real enemy. But it is by and through the apparatchiks and everyone else participating in the system that domination and deception are made manifest. The totality is the organization of all against each and each against all. It includes all the policemen, all the social workers, all the office workers, all the nuns, all the op-ed columnists, all the drug kingpins from Medellin to Upjohn, all the syndicalists and all the situationists.