When it comes right down to it, developing a critical sensibility about parenting isn't really about disapproval; it's about honing your own sensibilities, figuring out how you want to parent.

"I went to the bathroom and put each hand forcefully down on opposite sides of the sink. I looked straight into the mirror before me and stared at the person I'd been ignoring for some time now. I didn't have to say much. I already knew all this person's demons. I shook my head in disapproval. The alcohol and hate were killing me. What they missed, the depression whittled at unrelentingly. My whole life I had been told that I didn't look like a fisherman. All the while the only thing I wished to be was a fisherman. I screamed at the mirror in pure rage.

"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.

When you give yourself permission to communicate what matters to you in every situation you will have peace despite rejection or disapproval. Putting a voice to your soul helps you to let go of the negative energy of fear and regret.

But I found that disappointing people is a good thing because disapproval is freedom.

The vehemence with which certain critics have chosen not simply to criticize what I've written but to challenge my writing this story at all speaks of what the book is about: fear of disapproval.