I want the reader to feel something is astonishing. Not the 'what happens,' but the way everything happens. These long short story fictions do that best, for me.

A story ... has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.

But I never cleaned thoroughly enough, my reorganization proved to be haphazard, the disgraces came unfailingly to light, and it was clear how we failed, how disastrously we fell short of that ideal of order and cleanliness, household decency which I as much as anybody else believed in.

Things have changed, ofcourse. There are counsellors at the ready. Kindness and understanding. Life is harder for some, we're told. Not their fault, even if the blows are purely imgainery. Felt just as keenly by the recipient, or the non recipient, as the case may be. But good use can be made of everything, if you are willing.

People are curious. A few people are. ... They will put things together, knowing all along that they may be mistaken. You see them going around with notebooks, scraping the dirt off gravestones, reading microfilm, just in the hope of seeing this trickle in time, making a connection, rescuing one thing from the rubbish.

Naturally my stories are about women - I'm a woman. I don't know what the term is for men who write mostly about men. I'm not always sure what is meant by "feminist." In the beginning I used to say, well, of course I'm a feminist. But if it means that I follow a kind of feminist theory, or know anything about it, then I'm not. I think I'm a feminist as far as thinking that the experience of women is important. That is really the basis of feminism.

One stroke of lightning does not have to lead anywhere, but to the next stroke of lightning.