Each day, we wake slightly altered, and the person we were yesterday is dead. So why, one could say, be afraid of death, when death comes all the time?

I'm always looking for insights into the real Doris Day because I'm stuck with this infatuation and need to explain it to myself.

To be human is to be in the tense condition of a death-foreseeing, consciously libidinous animal. No other earthly creature suffers such a capacity for thought, such a complexity of envisioned but frustrated possibilities, such a troubling ability to question the tribal and biological imperatives.

There is this quality, in things, of the right way seeming wrong at first.

I assume my stance, and take back the club, low, slowly; at the top, my eyes fog over, and my joints dip and swirl like barn swallows, I swing. There is a fruitless commotion of dust and rubber at my feet. "Smothered it," I say promptly. After enough lessons the terminology becomes second nature.

I moved to New England partly because it has a real literary past. The ghosts of Hawthorne and Melville still sit on those green hills. The worship of Mammon is also somewhat lessened there by the spirit of irony. I don't get hay fever in New England either.

It seems to me the book has not just aesthetic values - the charming little clothy box of the thing, the smell of the glue, even the print, which has its own beauty. But there's something about the sensation of ink on paper that is in some sense a thing, a phenomenon rather than an epiphenomenon. I can't break the association of electric trash with the computer screen. Words on the screen give the sense of being just another passing electronic wriggle.