It's a complex thing when you're writing a novel, because so much of it is conscious and planned and deliberate, and so much of it is not, and it has to be a dance between the conscious and the unconscious. I bring my best instincts to my work. For instance - and I come by this naturally, or I think I do - I am a very good judge of character.

For a moment, I thought of the word happy and it was a word that just, well, it felt like it was visiting me. I knew it wouldn’t last for very long and I’d be sad again and then it would be worse because it’s one thing to be sad and it’s another thing to be sad once you’ve been happy. Being sad after you’ve been happy is the worst thing in the world.

I got to thinking that poems were like people. Some people you got right off the bat. Some people you just didn't get--and never would get.

I wondered about the science of storms and how sometimes it seemed that a storm wanted to break the world and how the world refused to break.

The heart can get really cold if all you've known is winter.

We have this huge discourse on family in this country, but no one deconstructs it the same way. People talk about "the American family." The right wing has this thing - Focus on the Family. What the hell is that? I don't want to just discuss the issues - I want family to be a real part of the character of the novels I write, and I don't like to write things that feel like issue books.

Absent parents aren't abusive per se. They're neglectful. They love in a very imperfect way. There are parents like that, and they do love their daughters and sons, but they're not parents in the way that we might think of it.