Added to their loveliness was a new mysterious suffering, perfectly silent, visible in the blue puffiness beneath their eyes or the way they would sometimes stop in mid-stride, look down, and shake their heads as though disagreeing with life.

Bubble gum angels swooped from top margins or scraped their wings between teeming paragraphs, maidens with golden hair dripped sea blue tears into the books spine, grape-colored whales spouted blood around a newspaper item (pasted in) listing arrivals to the endangered spieces list. Six hatchlings cried from shattered shells near an entry made on Easter. Cecilia had filled the pages with a profusion of colors and curlicues, candyland ladders and striped shamrocks.

-Who are you, anyway? -Just someone who knows, from personal experience, how attractive it can be to think you can save somebody else by loving them.

Remember that day you said you loved me? Remember that? See, you could do that because you're basically a sane person, who grew up in a loving, sane family. You could take a risk like that. But in my family we didn't go around saying we loved each other. We went around screaming at each other. So what do I do, when you say you love me? I go and undermine it.

The humming of my parents' voices from behind my bedroom wall, which throughout my childhood had filled me with a sense of security, had now become a source of anxiety and panic.

When I'm creating a character, it's a little bit like what my theater teachers used to tell me about Stanislavsky, like if you're using sense memory to do a scene - if you have to cry in a scene, you try to remember something in your life that made you cry and you use that in order to get the tears.

On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.