這是NYT的一段文評，能猜得到說誰麼？

You could even say that translation is the organizing principle of M's work: that his stories are not only translated but about translation. The signature pleasure of a M's plot is watching a very ordinary situation (riding an elevator, boiling spaghetti, ironing a shirt) turn suddenly extraordinary (a mysterious phone call, a trip down a magical well, a conversation with a Sheep Man) — watching a character, in other words, being dropped from a position of existential fluency into something completely foreign and then being forced to mediate, awkwardly, between those two realities. A M's character is always, in a sense, translating between radically different worlds: mundane and bizarre, natural and supernatural, country and city, male and female, overground and underground. His entire oeuvre, in other words, is the act of translation dramatized.
                
                
‘Just think about it. Wouldn’t it be too sad to walk into Denny’s and order chicken salad without looking at the menu? It’s like telling the world, ‘I come to Denny’s all the time because I love the chicken salad. So I always go through the motion of opening the menu and pretending I picked the chicken salad after considering other things.’