Quite often you want to tell somebody your dream, your nightmare. Well, nobody wants to hear about someone else's dream, good or bad; nobody wants to walk around with it. The writer is always tricking the reader into listening to the dream.

I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was meant to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement, not a movie but a cutting-room experience.

When I am near the end of a book, I have to sleep in the same room with it.

Although I have felt compelled to write things down since I was five years old, I doubt that my daughter ever will, for she is a singularly blessed and accepting child, delighted with life exactly as life presents itself to her, unafraid to go to sleep and unafraid to wake up. Keepers of private notebooks are a different breed altogether, lonely and resistant rearrangers of things, anxious malcontents, children afflicted apparently at birth with some presentiment of loss.

We imagined we knew everything the other thought, even when we did not necessarily want to know it, but in fact, I have come to see, we knew not the smallest fraction of what there was to know.

Above all, she is the girl who 'feels' things, who has hung on to the freshness and pain of adolescence, the girl ever wounded, ever young. Now, at an age when the wounds begin to heal whether one wants them to or not, Joan Baez rarely leaves the Carmel Valley.

Grief, when it comes, is nothing like we expect it to be.