I think it is vanity to want to put into a story anything but the story itself.

For me the thing that signals a great story is what we might call its autonomy, the fact that it detaches itself from its author like a soap bubble blown from a clay pipe.

Skill alone cannot teach or produce a great short story, which condenses the obsession of the creature; it is a hallucinatory presence manifest from the first sentence to fascinate the reader, to make him lose contact with the dull reality that surrounds him, submerging him in another that is more intense and compelling.

An admirable line of Pablo Neruda’s, “My creatures are born of a long denial,” seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge… It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.

The modern story begun, one might say, with Edgar Allan Poe, which proceeds inexorably, like a machine destined to accomplish its mission with the maximum economy of means.

The more a book is like an opium pipe, the more the Chinaman reader is satisfied with it and tends to discuss the quality of the drug rather than its lethargic effects.