Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.

Many girls have been romanced under the moon, and I don’t mean to say moonlight is overrated, but few I think have known the magic of a sunrise kiss.

She might be pointing to a doorway, or a person, or the sky. But such things were so common to my eyes, so undistinguished, that they would register as "nothing" I walked in a gray world of nothing.

Love is big. Love makes room for conflicting feelings.

The desert seems to be a brown wasteland of dry, prickly scrub whose only purpose is to serve as a setting for the majestic saguaros. Then, little by little, the plants of the desert begin to identify themselves: the porcupiny yucca, the beaver tail and prickly pear and barrel cacti, buckhorn and staghorn and devil's fingers, the tall, sky-reaching tendrils of the ocotillo.

Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.

It was the day of the worms. That first almost-warm, after-the-rainy-night day in April, when you bolt from your house to find yourself in a world of worms. They were as numerous here in the East End as they had been in the West. The sidewalks, the streets. The very places where they didn't belong. Forlorn, marooned on concrete and asphalt, no place to burrow, April's orphans.