Saul Bellow interviewed in the Paris Review -- "My first two books are well made. I wrote the first quickly but took great pains with it. I labored with the second and tried to make it letter-perfect. In writing The Victim I accepted a Flaubertian standard. Not a bad standard, to be sure, but one which, in the end, I found repressive—repressive because of the circumstances of my life and because of my upbringing in Chicago as the son of immigrants. I could not, with such an instrument as I developed in the first two books, express a variety of things I knew intimately. Those books, though useful, did not give me a form in which I felt comfortable. A writer should be able to express himself easily, naturally, copiously in a form that frees his mind, his energies. Why should he hobble himself with formalities? With a borrowed sensibility? With the desire to be “correct”? Why should I force myself to write like an Englishman or a contributor to The New Yorker? I soon saw that it was simply not in me to be a mandarin. I should add that for a young man in my position there were social inhibitions, too. I had good reason to fear that I would be put down as a foreigner, an interloper. It was made clear to me when I studied literature in the university that as a Jew and the son of Russian Jews I would probably never have the right feeling for Anglo-Saxon traditions, for English words. I realized even in college that the people who told me this were not necessarily disinterested friends. But they had an effect on me, nevertheless. This was something from which I had to free myself. I fought free because I had to."