It was her first book, an indigo cover with a silver moonflower, an art nouveau flower, I traced my finger along the silver line like smoke, whiplash curves. ... I touched the pages her hands touched, I pressed them to my lips, the soft thick old paper, yellow now, fragile as skin. I stuck my nose between the bindings and smelled all the readings she had given, the smell of unfiltered cigarettes and the espresso machine, beaches and incense and whispered words in the night. I could hear her voice rising from the pages. The cover curled outward like sails.

I usually start with something that has some energy, like a compressed character or a situation that's wound up like a spring. Then all I have to do is let it go, let its energy carry the story. And that may not turn out to be the beginning of the book.

It wasn't awful to be dead. The stillness would almost be a relief. She wouldn't want pain, she wouldn't want to be wounded or mutilated. She could never shoot herself or jump off a building. But being dead wasn't unthinkable.

I thought how tenuous the links were between mother and children between friends family things you think are eternal. Everything could be lost more easily than anyone could imagine.

If evil means to be self-motivated, to be the center of one’s own universe, to live on one’s own terms, then every artist, every thinker, every original mind, is evil.

Most people write the same sentence over and over again. The same number of words-say, 8-10, or 10-12. The same sentence structure. Try to become stretchy-if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you're generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going crosseyed.

They say drugs are not the answer, but really, what is the question?