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.

If you are doing a piece about somebody, even if you admire them tremendously and express that in the piece, express that admiration, if they're not used to being written about, if they're civilians, [...] they're not used to seeing themselves through other people's eyes. So you will always see them from a slightly different angle than they see themselves, and they feel a little betrayed by that.

When I began writing these pages I believed their subject to be children, the ones we have and the ones we wish we had, the ways in which we depend on our children to depend on us, the ways in which we encourage them to remain children, the ways in which they remain more unknown to us than they do to their more casual acquaintances; the ways in which we remain equally opaque to them.

California: The west coast of Iowa.

I've come to a much more controlled idea about death and loss, but I don't think it's possible to come to that much more controlled idea until you've gone through the crazy part . . . I don't mean that I'm controlled. I mean that I gave up the idea that I had control. That's the new control.

It's hard to find a book that's safe to write. Because one always goes to dark or difficult places.

The secret point of money and power in America is neither the things that money can buy nor power for power's sake... but absolute personal freedom, mobility, privacy. It is the instinct which drove America to the Pacific, all through the nineteenth century, the desire to be able to find a restaurant open in case you want a sandwich, to be a free agent, live by one's own rules.