Fiction is one of the few experiences where loneliness can be both confronted and relieved. Drugs, movies where stuff blows up, loud parties - all these chase away loneliness by making me forget my name's Dave and I live in a one-by-one box of bone no other party can penetrate or know. Fiction, poetry, music, really deep serious sex, and, in various ways, religion - these are the places (for me) where loneliness is countenanced, stared down, transfigured, treated.

I submit that tennis is the most beautiful sport there is and also the most demanding. It requires body control, hand-eye coordination, quickness, flat-out speed, endurance, and that weird mix of caution and abandon we call courage. It also requires smarts. Just one single shot in one exchange in one point of a high-level match is a nightmare of mechanical variables.

This appetite to choose death by pleasure if it is available to choose - this appetite of your people unable to choose appetites, this is the death.

I wish you way more than luck.

I want to tell you,' the voice on the phone said. 'My head is filled with things to say.' ... 'I don't mind,' Hal said softly. 'I could wait forever.' 'That's what you think,' the voice said. The connection was cut.

The point is that petty, frustrating crap like this is exactly where the work of choosing comes in. Because the traffic jams and crowded aisles and long checkout lines give me time to think, and if I don't make a conscious decision about how to think and what to pay attention to, I'm going to be pissed and miserable every time I have to food-shop, because my natural default-setting is the certainty that situations like this are really all about me, about my hungriness and my fatigue and my desire to just get home.

If some people read my fiction and see it as fundamentally about philosophical ideas, what it probably means is that these are pieces where the characters are not as alive and interesting as I meant them to be.