I realized I took ideas from philosophers like Dan Dennett. I took ideas from evolutionary biologists like John Maynard Smith. I took ideas from people who were trying to implement evolution for things like RNA, so people like Jerry Joyce at Scripps. I took ideas from lots of people who could explain their ideas well, so I’ve been influenced by many. I’ve built my ideas on the contributions of many. And, of course, that’s what evolution does. It mutates and recombines what’s already there. Nothing comes out of nothing, right? It all comes on the back of what was there.

Professor Randall was a great advisor and a great mentor. He taught me, I think, in the best possible way. He was not a brilliant lecturer. His courses were fairly pedestrian. I didn’t think his seminars were particularly interesting. But working with him on a one-to-one basis as his assistant, I think that’s the way one has to learn to be a historian. That is, he was writing, and if he needed some particular reference, I had to go find it and get it. If he was writing, he wanted everything checked meticulously over and over again. So I had to take the manuscript over to the library and check it all out. So that by working closely with him, I got to see, first of all, a lot of the library and its extensive holdings, but I got, even more important, to understand what a scholar is about. It is about care. It is about “pains-taking.” It is about judgment as well as it’s about very skillful writing. He was an excellent writer as well. So in that sense, Professor Randall and Mrs. Randall shaped my future career.

I read Turgenev, Ivan Turgenev’s Fathers and Sons , and that book had a tremendous impact on me. It was about a young man who came back to the old village to visit the old people after he had graduated from his university, and he used to be a doctor, and falls in love with a beautiful woman and all that sort of thing. They lived out in the country. When I was writing my first novel, Catherine Carmier — I started writing it in ’58, I think, ’58, ’59 — I knew nothing about writing a novel, and I used that Fathers and Sons as sort of my Bible, my guide. My first novel was about a young man who had been away from the old place, and then returning, and falls in love with a beautiful girl, and he loses her. I was really very much impressed by — influenced by — Turgenev’s Fathers and Sons at that time, but then I started reading other books, of course. I was reading other books at the same time, but that was the book that had the earliest influence on my structure

The music of the “I Have a Dream” speech is a replication of the music which comes out of the mouths of the African American preacher. Preacher, singer, blues singer, jazz singer, rap person, it is so catching, so hypnotic, so wonderful that, as a poet, I continue to try to catch it, to catch the music.

Then you have the clients. The care and feeding of clients is really one of the main obstacles, because you always have a client with some preconceived idea of what a house looks like, and all you want him to do is leave a check and go to Europe for a couple of years. Or leave two checks. But alas, life isn’t simple. If it were, more people would be better architects.

I don’t know. I know the ones that are the greatest triumphs, like the Dumbarton Oaks Museum in Washington D.C. that I worked on with the owners. It was a real collaboration and there was no budget, no money involved. It was just, “If we like that better, we’ll do it that way.” So I had total freedom and it was a simple project to build a little museum, and the owner and I worked together and it was pure delight from beginning to end and it came out very well.