My parents were both first-generation Irish Catholics raised in Brooklyn. But it was more for me - it was that women of that generation were even less likely to express themselves, more likely to have that active interior life that they didn't dare speak out. So I was interesting in women of that era. I was interested in the language of that era. There's so much. And, certainly, this is cultural, so much there wasn't spoken about.

We are at the mercy of time, and for all the ways we are remembered, a sea of things will be lost. But how much is contained in what lingers!

Language is the writer's only tool - we really don't have anything else - but our language contains within it our entire experience of the world.

The world was a cruder, more vulgar place than the one I had known. This was the language required to live in it, I supposed.

I'm always telling my students, don't - don't worry so much third person, first person. It doesn't make that much difference.

Fiction that intends to be something other than entertainment has a certain obligation, I think, to convince the reader, every time, that what is to be evoked - character, experience, idea - is worthy of his or her consideration, intellectual energy, close attention.

My love for the child asleep in the crib, the child's need for me, for my vigilance, had made my life valuable in a way that even the most abundantly offered love, my parents', my brother's, even Tom's, had failed to do. Love was required of me now--to be given, not merely to be sought and returned.