Down the hall came the wife. She was glorious, burning. She didn't know yet that her husband was dead. We knew. That's what gave her such power over us. The doctor took her into a room with a desk at the end of the hall, and from under the closed door a slab of brilliance radiated as if, by some stupendous process, diamonds were being incinerated in there. What a pair of lungs! She shrieked as I imagined an eagle would shriek. It felt wonderful to be alive to hear it! I've gone looking for that feeling everywhere.

If you take a lie and allow your desire for the truth, you'll end up with some truth - not fact, but something that gets you closer to the truth. That's what we want. When we go to a play, we need to be assured that the experience we're having.

I have the belief in boldness. What I generally lack is the boldness itself. Because boldness doesn't feel bold. It feels scared not brave.

We can’t always tell the whole story about ourselves.

[The doctor] peeked into the trauma room and saw the situation: the clerk - that is, me - standing next to the orderly, Georgie, both of us on drugs, looking down at a patient with a knife sticking up out of his face. 'What seems to be the trouble?' he asked.

They needed to share one secret after another with a beautiful woman, to peel away layer after layer, mask after mask, and still find themselves worshiped.

I think it's silly for anyone to think you could write under the influence, but if they'd like to think that, I'd like to keep the legend alive. Maybe I was under the influence when I wrote Jesus' Son and I just didn't know it.