Because the more you write the more you're aware of the weight of your tradition and the difficulties of the form and the more you have already done that you do not want to do again.
You have to be kind of clued into them, they are a world of their own, and most people find them disappointing because the best short stories are not constructed like novels.
That, for me, is a very important test of a young writer's commitment because most of them are going to have to continue doing that when they've finished the program.
Of course it's why you want to become a writer - because you have the liberty to do that, but once you have the liberty you also have the obligation to do it.
I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.
But as my brother was doing his research for a book about my father, it became his opinion that the most influential anti-semitism my father encountered when he was growing up was from Jews, because his relatives were German Jews, and doctors.
Perhaps that is why the novel flourished in England. You had these communities that would stay put and people would see one another all the time and cause one another to change and have the opportunity to observe the changes over time.
It's probably why I'm a short story writer. I tend to remember things in the past in narrative form, in story form, and I grew up around people who told stories all the time.
I believe that the short story is as different a form from the novel as poetry is, and the best stories seem to me to be perhaps closer in spirit to poetry than to novels.
I teach one semester a year, and this year I'm just teaching one course during that semester, a writing workshop for older students in their late 20s and early 30s, people in our graduate program who are already working on a manuscript and trying to bring it to completion.
Anybody can be very destructive in that position without at all meaning to be, and I know that I have been inadvertently destructive in the past for certain people on certain occasions.
And you can tell the writers who do it - Robert Stone, for example, who with each new novel is doing something new. I appreciate that in other writers.
