The sensation of writing a book is the sensation of spinning, blinded by love and daring. It is the sensation of rearing and peering from the bent tip of a grass blade, looking for a route.

Good girls like myself need subversion. Being solemn, I aspire to comedy. Being a novelist, I aspire to the musical. Being organized, I aspire to luminous chaos. Loving the power of grammar and the fine distinctions of language, I seek the part of the mind I didn't know was there, the part 'sheer,' 'no-manfathomed,' 'cliffs of fall.

The mystique and the false glamour of the writing profession grow partly out of a mistaken belief that people who can express profound ideas and emotions have ideas and emotions more profound than the rest of us. It isn't so. The ability to express is a special gift with a special craft to support it and is spread fairly equally among the profound, the shallow, and the mediocre.

Most writing is done between the mind and the hand, not between the hand and the page.

In literature only trouble is interesting. It takes trouble to turn the great themes of life into a story: birth, love, sex, work, and death.

Part of the trouble is that I've never properly understood that some disasters accumulate, that they don't all land like a child out of an apple tree.

The human desire to know why is as powerful as the desire to know what happened next, and it is a desire of a higher order.