When my first daughter was born, my husband held her in his hands and said, 'My God, she's so beautiful.' I unwrapped the baby from her blankets. She was average size, with long thin fingers and a random assortment of toes. Her eyes were close set, and she had her father's hooked nose. It looked better on him.

Before I was married, I didn't consider my failure to manage even basic hand tools a feminist inadequacy. I thought it had more to do with being Jewish. The Jews I knew growing up didn't do 'do-it-yourself.' When my father needed to hammer something he generally used his shoe, and the only real tool he owned was a pair of needle-nose pliers.

One of the darkest, deepest shames so many of us mothers feel nowadays is our fear that we are Bad Mothers, that we are failing our children and falling far short of our own ideals.

When we choose to have an abortion, we must do so understanding the full ramifications of what we are doing. Anything less feels to me to be hypocritical, a selfish abnegation of reality and responsibility.

The biggest challenge for any craft person or artist is to accept the constraints of their medium and make something beautiful despite them. That's kind of fun, actually.

I did not want to raise a genetically compromised child. I did not want my children to have to contend with the massive diversion of parental attention, and the consequences of being compelled to care for their brother after I died. I wanted a genetically perfect baby, and because that was something I could control, I chose to end his life.

The Q I loathe and despise, the Q every single writer I know loathes and despises, is this one: 'Where,' the reader asks, 'do you get your ideas?' It's a simple question, and my usual response is a kind of helpless, 'I don't know.'