Anybody who thinks there's nothing wrong with this world needs to have his head examined. Just when things are going all right, without fail someone or something will come along and spoil everything. Somebody should write that down as a fundamental law of the Universe. The principle of perpetual disappointment. If there is a God who created this world, he should scrap it and try again.
I think all of my writing life led up to the writing of 'The Train Driver' because it deals with my own inherited blindness and guilt and all of what being a white South African in South Africa during those apartheid years meant.
How thin and insecure is that little beach of white sand we call consciousness. I've always known that in my writing it is the dark troubled sea of which I know nothing, save its presence, that carried me. I've always felt that creating was a fearless and a timid, a despairing and hopeful, launching out into that unknown.
I'm giving up acting. . . . I'm 66 and there are a number of celebrations I've got to get down on paper, and acting doesn't allow me to do that. It was a hell of a drug, performance. It's a great thrill, especially for a storyteller. But it can go. Directing can go. Writing can't go. And in terms of what lies ahead, I want to have a burning focus - almost like smoke coming up from the paper as I write.
The things that converge in the writing of a play come from a complex of motives, a genesis shrouded in a certain kind of mystery.
For most of my writing life, I've refused to allow myself to believe that writing was a significant form of action. I always felt very uneasy about the fact that all I did was write in a situation as desperate as apartheid South Africa. Whether I was correct or not is a different issue.
Night-time is when I brainstorm; last thing, when the family's asleep and I'm alone, I think about the next day's writing and plan a strategy for my assault on the blank page.