We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images.

We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.

Water is important to people who do not have it, and the same is true of control.

There is always a point in the writing of a piece when I sit in a room literally papered with false starts and cannot put one word after another and imagine that I have suffered a small stroke, leaving me apparently undamaged but actually aphasic.

This book is called "Blue Nights" because at the time I began it I found my mind turning increasingly to illness, to the end of promise, the dwindling of the days,the inevitability of the fading, the dying of the brightness. Blue nights are the opposite of the dying of the brightness, but they are also its warning.

Anything worth having has its price.

Vanish. Pass into nothingness: the Keats line that frightened her. Fade as the blue nights fade, go as the brightness goes. Go back into the blue. I myself placed her ashes in the wall. I myself saw the cathedral doors locked at six. I know what it is I am now experiencing. I know what the frailty is, I know what the fear is. The fear is not for what is lost. What is lost is already in the wall. What is lost is already behind the locked doors. The fear is for what is still to be lost. You may see nothing still to be lost. Yet there is no day in her life on which I do not see her.