Popular success is a wonderful gift if it happens, but like money, it's not the motivation. The effort to create a work of art that is true and potentially lasting, that is the very best work of art you can create at that point in your life - a book that may only reach or move a few people but will seem to people somehow transformative. That's the ideal; that's always the motivation.

I wanted to write a voice that for me, as a reader, had been missing from the chorus: the voice of an angry woman.

We live in a funny time, a funny era, when desire, to be adult desire, has to be conceived as sexual. And that didn't used to be the case. Sexuality is a social construction as much as anything else and I think the realities of sexuality don't always fit into the social constructions that we have, and we live in a goal-oriented time - on all fronts.

I think that one of the great things about spending - as in my case - twenty-something years with somebody is that at some point you do love the actual person. They're there little by little, the outline is really pretty clear.

I was funny -- ha-ha, not peculiar. It was a modest currency, like pennies: pedestrian, somewhat laborious, but a currency nonetheless. I was funny, in public, most often at my own expense.

I always say to my students, if you can do anything other than writing and be happy, then you should.

Just because something is invisible doesn't mean it isn't there. At any given time, there are a host of invisibles floating among us. There are clairvoyants to see ghosts; but who sees the invisible emotions, the unrecorded events? Who is that sees love, more evanescent than any ghost, let alone can catch it? Who are you tell me that I don't know what love is?