Watching the animals come and go, and feeling the land swell up to meet them and then feeling it grow still at their departure, I came to think of the migrations as breath, as the land breathing. In spring a great inhalation of light and animals. The long-bated breath of summer. And an exhalation that propelled them all south in the fall.

Over the years, one comes to measure a place, too, not just for the beauty it may give, the balminess of its breezes, the insouciance and relaxation it encourages, the sublime pleasures it offers, but for what it teaches. The way in which it alters our perception of the human. It is not so much that you want to return to indifferent or difficult places, but that you want to not forget.

When I sit at that typewriter, I have to be frightened of what I'm trying to do. I'm frightened by my own belief that I can actually get a story down on paper.

People think that if you've written a book and somebody's given you a pat on the back then, you know, it's all - you're all settled, you know? You're going to be fine. I know that if I'm not confused, and really afraid, my work isn't going to be any good.

To allow mystery, which is to say to yourself, 'There could be more...things we don't understand,' is not to damn knowledge....It is to permit yourself an extraordinary, freedom: someone else does not have to be wrong in order that you might be right...This tolerance for mystery invigorates the imagination; and it is the imagination that gives shape to the universe.

You can't learn anything from saguaro cactus, from ocotillo. They are just passing through; their roots, their much heralded dormancy in the dry season, these are only illusions of permanence. They know even less than you do.

The land is like poetry: it is inexplicably coherent, it is transcendent in its meaning, and it has the power to elevate a consideration of human life.