We tell ourselves stories in order to live. We live entirely by the impression of a narrative line upon disparate images, the shifting phantasmagoria, which is our actual experience.

My first notebook was a Big Five tablet, given to me [at age five] by my mother with the sensible suggestion that I stop whining and learn to amuse myself by writing down my thoughts.

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.

Despite our preparation, indeed, despite our age, [the death of a parent] dislodges things deep in us, sets off reactions that surprise us and may cut free memories and feelings that we thought had gone to ground long ago. We might, in that indeterminate period they call mourning, be in a submarine, silent on the ocean's bed, aware of the depth charges, now near and now far, buffeting us with recollections.

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.

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

Writing is the act of saying "I," of imposing oneself upon other people, of saying "listen to me, see it my way, change your mind."