When someone you love truly dies, you have to find them over and over again in the world, and I think you do that on a very psychic, unconscious level, and I think in some ways I was calling out to that spirit of my mother when I saw the fox. It doesn't surprise me it's in animals that I find my mother.

The useless days will add up to something. The shitty waitressing jobs. The hours writing in your journal. The long meandering walks. The hours reading poetry and story collections and novels and dead people’s diaries and wondering about sex and God and whether you should shave under your arms or not. These things are your becoming.

I think a lot of people have the idea of an editor being someone who comes in like a dictator, and says, "You can't have that scene." And it never is like that - or perhaps some editors are like that and they're assholes, and they're not good editors. A good editor actually says, "I respect you" and they understand that you have a vision and they're actually trying to help you realize it.

I was amazed that what I needed to survive could be carried on my back. And, most surprising of all, that I could carry it.

My concept of an advice giver had been a therapist or a know-it-all, and then I realized nobody listens to the know-it-alls. You turn to the people you know, the friend who has been in the thick of it or messed up - and I'm that person for sure.

It isn't enough to have had an interesting or hilarious or tragic life. Art isn't anecdote. It's the consciousness we bring to bear on our lives. For what happened in the story to transcend the limits of the personal, it must be driven by the engine of what the story means.

He was the most ordinary man in all the world, and yet in her memory he'd become luminous, like the prince in a fairy tale.