All the history of the stage is a struggle, the gasping of a beautiful child born at the point of death. The moralists, censorship and oppression, technology, and now poverty have all tried to destroy her. Only we, the actors and audiences, have kept her alive.

A hundred wise men have said in various ways that love transcends the power of death, and millions of fools have supposed that they meant nothing by it. At this late hour in my life I have learned what they meant. They meant that love transcends death. They are correct.

Then I could not help wondering what the watching gods thought of us, with our clever masks and our jokes. What we think of crickets, perhaps, whose singing we hear with pleasure, though some of us smash them with our heels when they venture into sight.

You never learn how to write a novel. You just learn how to write the novel that you're writing.

We only have one dog now. Calamity Jane had to be put down. She was very old, and her medicine no longer controlled her seizures. Dilly is five now, I think. He's a neutered American Pit Bull Terrier, very gentle, about the color of buckskin.

Weak people believe what is forced on them. Strong people what they wish to believe, forcing that to be real.

The same authorities who insist upon beginnings, middles, and ends, declare that Great Literature (by which they mean the stories they have been taught to admire) is about love and death, while mere popular fiction like this is about sex and violence. One reader's sex, alas, is another's love; and one's violence, another's death.