I recall an August afternoon in Chicago in 1973 when I took my daughter, then seven, to see what Georgia O’Keeffe had done with where she had been. One of the vast O’Keeffe ‘Sky Above Clouds’ canvases floated over the back stairs in the Chicago Art Institute that day, dominating what seemed to be several stories of empty light, and my daughter looked at it once, ran to the landing, and kept on looking. "Who drew it," she whispered after a while. I told her. "I need to talk to her," she said finally.

We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices.

When you lose someone, a whole lot of perfectly normal circumstances suddenly take on different meaning. You see it in a different light. You wonder if they knew. I wondered. Doctors have told me that people do have a sense of their own approaching death.

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.

Somehow writing has always seemed to me to have an element of performance.

We all have the same dreams.

The apparent ease of California life is an illusion, and those who believe the illusion will live here in only the most temporary way.