There is something in us, as storytellers and as listeners to stories, that demands the redemptive act, that demands that what falls at least be offered the chance to be restored. The reader of today looks for this motion, and rightly so, but what he has forgotten is the cost of it. His sense of evil is diluted or lacking altogether, and so he has forgotten the price of restoration. When he reads a novel, he wants either his sense tormented or his spirits raised. He wants to be transported, instantly, either to mock damnation or a mock innocence.

The only way, I think, to learn to write short stories is to write them, and then try to discover what you have done.

...I have to write to discover what I am doing. Like the old lady, I don't know so well what I think until I see what I say; then I have to say it again.

It is popular to believe that in order to see clearly one must believe nothing. This may work well enough if you are observing cells under a microscope. It will not work if you are writing fiction. For the fiction writer, to believe nothing is to see nothing.

He had the feeling that everything he saw was a broken-off piece of some giant blank thing that he had forgotten had happened to him.

The truth does not change according to our ability to stomach it emotionally. A higher paradox confounds emotion as well as reason and there are long periods in the lives of all of us, and of the saints, when the truth as revealed by faith is hideous, emotionally disturbing, downright repulsive. Witness the dark night of the soul in individual saints. Right now the whole world seems to be going through a dark night of the soul.

The black sky was underpinned with long silver streaks that looked like scaffolding and depth on depth behind it were thousands of stars that all seemed to be moving very slowly as if they were about some vast construction work that involved the whole universe and would take all time to complete. No one was paying attention to the sky.