If you look at a book like [Thomas Bernhard’s] The Loser, there’s this framing situation where a guy is entering a tavern and there is a sentence like »He arrived at the tavern; he stepped inside.« And then you have five pages of this rush of interiority and memory, this sort of glutinous mass of consciousness, and then a sentence like »He took a step toward the table« that returns you to the scene. So that is something I really admire, when writers can be very economical in their stagecraft and create these framing devices that really just serve as containers for consciousness.

Garth Greenwell, Nelly Hermann: »An Interview with Garth Greenwell«, The Believer, Nr. 134, 1. Juni 2020.