In fact I no longer value this kind of memento. I no longer want reminders of what was, what got broken, what got lost, what got wasted. There was a period, a long period, dating from my childhood until quite recently, when I thought I did. A period during which I believed that I could keep people fully present, keep them with me, by preserving their mementos, their "things," their totems.

The impulse for much writing is homesickness. You are trying to get back home, and in your writing you are invoking that home, so you are assuaging the homesickness.

A single person is missing for you, and the whole world is empty.

In the absence of a natural disaster we are left again to our own uneasy devices.

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.

It is impossible to think of Howard Hughes without seeing the apparently bottomless gulf between what we say we want and what we do want, between what we officially admire and secretly desire, between, in the largest sense, the people we marry and the people we love. In a nation which increasingly appears to prize social virtues, Howard Hughes remains not merely antisocial but grandly, brilliantly, surpassingly, asocial. He is the last private man, the dream we no longer admit.

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