never forget this moment, the hum of the bee, the saffron threads of the flower, the drawn blinds, nature's assiduousness and human cruelty.

what makes us so afraid is the thing we half see, or half hear, as in a wood at dusk, when a tree stump becomes an animal and a sound becomes a siren. And most of that fear is the fear of not knowing, of not actually seeing correctly.

That is the mystery about writing: it comes out of afflictions, out of the gouged times, when the heart is cut open.

Cities, in many ways, are the best repositories for a love affair. You are in a forest or a cornfield, you are walking by the seashore, footprint after footprint of trodden sand, and somehow the kiss or the spoken covenant gets lost in the vastness and indifference of nature. In a city there are places to remind us of what has been.

The other me, who did not mean to drown herself, went under the sea and remained there for a long time. Eventually she surfaced near Japan and people gave her gifts but she had been so long under the sea she did not recognize what they were. She is a sly one. Mostly at night we commune. Night. Harbinger of dream and nightmare and bearer of omens which defy the music of words. In the morning the fear of her going is very real and very alarming. It can make one tremble. Not that she cares. She is the muse. I am the messenger.

You have to be lonely to be a writer

Countries are either mothers or fathers, and engender the emotional bristle secretly reserved for either sire.