Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.

The road to enlightenment is long and difficult, and you should try not to forget snacks and magazines.

We're all afraid of the same stuff. Mostly we're afraid that we're secretly not okay, that we're disgusting, or frauds, or about to be diagnosed with cancer. ... We want to teach you how to quiet the yammer ... how you can create comfort, inside and outside, how you can get warm, how you can feed yourself. And even learn to get through silence. ... There is a wilderness inside you, and a banquet. Both. [p. 253]

...the three things I cannot change are the past, the truth, and you.

I never had a particularly strong craving to procreate, except for earlier fantasies of wanting to be Marmee in Little Women.

You want to protect your child from pain, and what you get instead is life, and grace; and though theologians insist that grace is freely given, the truth is that sometimes you pay for it through the nose. And you can't pay your child's way.

This is the most profound spiritual truth I know: that even when we're most sure that love can't conquer all, it seems to anyway. It goes down into the rat hole with us, in the guise of our friends, and there it swells and comforts. It gives us second winds, third winds, hundredth winds.