Happiness is not like we were walking around fingering razor blades or anything like that. But it just sort of seems as if - we sort of knew how happy our parents were, and we would compare our lives with our parents and see that, at least on the surface or according to the criteria that the culture lays down for a successful, happy life, we were actually doing better than a lot of them were.

Dostoevsky wrote fiction about identity, moral value, death, will, sexual vs. spiritual love, greed, freedom, obsession, reason, faith, suicide. And he did it without ever reducing his characters to mouthpieces or his books to tracts. His concern was always what it is to be a human being—that is, how to be an actual *person*, someone whose life is informed by values and principles, instead of just an especially shrewd kind of self-preserving animal.

To be willing to sort of die in order to move the reader, somehow. Even now I'm scared about how sappy this'll look in print, saying this.

I just think that fiction that isn't exploring what it means to be human today isn't art.

Happiness is not like we were walking around fingering razor blades or anything like that. But it just sort of seems as if - we sort of knew how happy our parents were, and we would compare our lives with our parents and see that, at least on the surface or according to the criteria that the culture lays down for a successful, happy life, we were actually doing better than a lot of them were.

The sound of wind had become, for me, silence. When it went away, I was left with the squeak of the blood in my head and the aural glitter of all those little eardrum hairs quivering like a drunk in withdrawal.

The lives of most people are small tight pallid and sad, more to be mourned than their deaths. We starve at the banquet: We cannot see that there is a banquet because seeing the banquet requires that we see also ourselves sitting there starving-seeing ourselves clearly, even for a moment, is shattering. We are not dead but asleep, dreaming of ourselves.