Isolation offered its own form of companionship: the reliable silence of her rooms, the steadfast tranquility of the evenings. The promise that she would find things where she put them, that there would be no interruption, no surprise. It greeted her at the end of each day and lay still with her at night.

Most people trusted in the future, assuming that their preferred version of it would unfold. Blindly planning for it, envisioning things that weren't the case. This was the working of the will. This was what gave the world purpose and direction. Not what was there but what was not.

In the days that follow, he begins to remember things about Moushumi, images that come to him without warning while he is sitting at his desk at work, or during a meeting, or drifting off to sleep, or standing in the mornings under the shower. They are scenes he has carried within him, buried but intact, scenes he has never thought about or had reason to conjure up until now.

She is stunned that in this town there are no sidewalks to speak of, no streetlights, no public transportation, no stores for miles at at a time.

In New York I was always so scared of saying that I wrote fiction. It just seemed like, 'Who am I to dare to do that thing here? The epicenter of publishing and writers?' I found all that very intimidating and avoided writing as a response.

I approach writing stories as a recorder. I think of my role as some kind of reporting device - recording and projecting.

One hand, five homes. A lifetime in a fist.