If you have a body, you are entitled to the full range of feelings. It comes with the package.

Every time I see the bumper sticker that says “We think we’re humans having spiritual experiences, but we’re really spirits having human experiences,” I (a) think it’s true and (b) want to ram the car.

If something inside of you is real, we will probably find it interesting, and it will probably be universal. So you must risk placing real emotion at the center of your work. Write straight into the emotional center of things. Write toward vulnerability. Risk being unliked. Tell the truth as you understand it. If you’re a writer you have a moral obligation to do this. And it is a revolutionary act—truth is always subversive.

Human lives are hard, even those of health and privilege, and don't make much sense. This is the message of the Book of Job: Any snappy explanation of suffering you come up with will be horseshit.

No one tells you that your life is effectively over when you have a child: that you're never going to draw another complacent breath again... or that whatever level of hypochondria and rage you'd learned to repress and live with is going to seem like the good old days.

To be a good writer, you not only have to write a great deal but you have to care. You do not have to have a complicated moral philosophy. But a writer always tries, I think, to be a part of a solution, to understand a little about life and to pass this on.

I was raised by my parents to believe that you had a moral obligation to try and save the world. You sent money to the Red Cross, you registered people to vote, you marched in rallies, stood in vigils, picked up litter.