Our mythology tells us so much about fathers and sons. ... What do we know about mothers and daughters? ... Our power is so oblique, so hidden, so ethereal a matter, that we rarely struggle with our daughters over actual kingdoms or corporate shares. On the other hand, our attractiveness dries as theirs blooms, our journey shortens just as theirs begins. We too must be afraid and awed and amazed that we cannot live forever and that our replacements are eager for their turn, indifferent to our wishes, ready to leave us behind.

One of the things about parents and children is that there is no way that you go through this without there being mutual anger.

I think that certainly the artists of the '40s, '50s and '60s were fighting a very conformist society, which didn't give them enough space to live or create, and they were bucking all kinds of spoken and unspoken rules.

When I grew up, you needed to have straight hair. It's symbolic of needing to be like everyone else, needing to look like everyone else. And what that meant was looking like the dominant ruling class in America.

I don't really think it comes as a shock to every writer if somebody in their family is mad at them. Yes, it's very upsetting. But it's inherent in the process of trying to make sense of one's life, which is what I think is perhaps at the bottom of writing at all.

Decay is quiet but ghastly, explosion is dramatic and dreadful. There's not much to choose between the two of them in reality, and most of our lives have sufficient of both.

What other people think of me is not really my major concern in life. What other people think of what I write is another matter.