So, yes, it is very hard work, and there are days where there’s something I have to do in the book, something I have to learn or put myself and the characters through that I am… That makes me fearful or sorrowful. But I do think also that this aspect of writing is over reported at the expense of the pleasurable aspect as well. If writers didn’t love to be in this space between themselves and their language, they probably wouldn’t do it. You’d give up.

People tell me that I work hard. I never feel that I do particularly, because it’s fun. I always say, “Well, I’ve never worked hard in my life.” I’m busy, but most of what I do is enjoyable. It isn’t that it’s not tedious to some people, and so on, and of course I have routine to do, but I don’t mind it. I just don’t feel that I’m put upon. I spend a lot of time, but it’s fun. It’s a very intensive hobby. I would say it’s my most serious hobby. I have lots of hobbies, but the one permanent one is science, physics. So yes, I spend a lot of time, and I would agree with Edison, you have to work very hard and intensively.

A writer is no different than a bricklayer or a bus driver in that sense. You must have discipline. Oscar Wilde said that writing is 10 percent genius, 90 percent discipline. You must have discipline for writing. It is not an easy task. It is very lonely. You’re all alone. You are not in company. You are not enjoying yourself in that sense. You are enjoying yourself in another sense. You are delving into your depths, but you are profoundly lonely. It is one of the loneliest careers in the world. In the theater, you are with companions, with directors, actors. In film. In an office. In writing, you are alone. That takes a lot of strength and a lot of will to do it. You must really be in love with what you’re doing to tolerate the huge loneliness of writing.

So I got this new attitude.  Now that I am burned out and I’ll never accomplish anything, I’ve got this nice position at the university teaching classes which I rather enjoy, and just like I read the Arabian Nights for pleasure, I’m going to play with physics, whenever I want to, without worrying about any importance whatsoever.

Well, I’ve had injuries, but I’d always get out on stage because I think the body is a wonderful thing, and you have to treat it with respect. We haven’t even reached our potential for what we can do as human beings. I went through a period where I had hip trouble. I thought it was just a typical pulled muscle, so I used liniment, and warmed up more than I thought was necessary, all the things we learn to do when you have a typical dance-related injury or sore muscle. Over the months, it didn’t go away. In fact, it got worse. Eventually I realized that I had a very serious problem, and it was the first time that dance had let me down. What had been my salvation and my security with my body was abandoning me. This was emotionally and physically devastating.

By the time I admitted that I needed a hip operation, I had denied it for so long that it was a breakthrough to suddenly say, “I need this.” I knew I would probably never dance again, but I had no choice. By that time, I just wanted to be normal. I wanted to walk down the street without limping. I couldn’t tie my shoes. I couldn’t put slacks on. I was the farthest thing from a person who ever could dance and do all those extremely incredible extensions and contortions that we do.

I think he was a great philosopher. He had a wonderful theory that you live in the “now,” which I think is important. Along with living in the moment, you also have to assume the responsibility that goes along with it, and you don’t take your position lightly. But it also means that you get the full value of the moment that you are living, so you don’t look back on your life and say, “If only I hadn’t wasted time, if only I had done this.” You do the best you can. It was wonderful to be able to go home after a performance, and think, well it wasn’t maybe so good, but it was the best I could be at that time.

That’s an easy question. It was, of course, George Balanchine. He came from Russia via Europe and settled in America in 1933. He started a little company which was not very successful, so he had to start over and over again. Ultimately, he founded the New York City Ballet. I happened to be born at the right time, came to the right place, and had the fortune to audition for him, and work with him, because he is the genius of the century of ballet. I learned how to dance with him.