So, you know, I think any life has in it enough material, enough points of departure, to fuel a writer's career and that we shouldn't worry about what we're not but to try to focus on what we are and what we do know.

An American in London...cannot but be impressed and charmed by the city. The momumentality of Washington, the thriving business of New York, the antique intimacy of Boston, plus a certain spacious and open feeling reminiscent of Denver and San Francisco-all these he finds combined for his pleasure.

Not judginess, but openness and curiosity are our proper business. I'm still trying to educate myself. I don't think you need to keep rehearsing your instincts. Far better to seek out models of what you can't do.

A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens.

There's always something new by looking at the same thing over and over.

Whatever art offered the men and women of previous eras, what it offers our own, it seems to me, is space - a certain breathing room for the spirit. The town I grew up in had many vacant lots; when I go back now, the vacant lots are gone. They were a luxury, just as tigers and rhinoceri, in the crowded world that is making, are luxuries. Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.

...but with his mother there's no question of liking him they're not even in a way separate people he began in her stomach and if she gave him life she can take it away and if he feels that withdrawal it will be the grave itself.