Athol Fugard: Well, there was a moment in the writing of “Master Harold”… and the Boys which possibly touches on this question of “How do you watch what is happening on the page?” Now when I got to the moment where Hally, as he’s called in the play, spits in Sam’s face, I had reached the point where I was going to define that moment with a stage direction. And I remember putting down — this is a very precise memory because it was so important to me — putting down my pen and thinking, “Oh for God’s sake, Athol,” as I then called myself already, “you’re not going to be as ugly as that. Heavens man, there’s some other way of dealing with this moment and bringing it to a climax. No. You can’t possibly have a little boy spitting in a black man’s face.” And suddenly I said to myself, “You’re censoring yourself. You are censoring yourself. There are enough people in the government who are trying to do that to you. Put that pen back on the page and write those unspeakable words: ‘Hally spits in Sam’s face,’ close brackets. Carry on writing.” And it is that awareness, because there’s a part of you as you are writing — it’s just a strange sort of dualism you have in your relationship to the page. You’re always watching, watching what happens. Part of you is watching that part of you which is engaged in the story and telling it. And then there’s this other part that is watching what the storyteller does and checking him out.