Whoever's reading this, if anyone is reading it: does it matter that our old selves are lost to us as surely as the past is lost, or is it enough to know yes we lived then, and we are living now, and the connection must be there? Like a river hundreds of miles long exists both at its source and at its mouth, simultaneously?

Criticism is, for me, like essay writing, a wonderful way of relaxation; it doesn't require a heightened and mediated voice, like prose fiction, but rather a calm, rational, even conversational voice.

'We Were the Mulvaneys' is perhaps the novel closest to my heart. I think of it as a valentine to a passing way of American life, and to my own particular child - and girlhood in upstate New York. Everyone in the novel is enormously close to me, including Marianne's cat, Muffin, who was in fact my own cat.

How mysterious it is, to be in love. For you can be in love with one who knows nothing of you. Perhpas our greatest happinesses spring from such longings-being in love with one who is oblivious of you.

The act of sending a letter is an act of generosity, even if, in retrospect, it might seem reckless. Why regret one's generosity? Why regret one's impulsiveness, one's misjudgment of others? The inevitable discovery that someone is selling letters you'd written in trust is simply to discover an obvious human truth: there are those who don't cherish us as we'd cherished them, and had wished to be cherished by them.

Often in gothic novels there's a large house, an estate, and it's symbolic of that culture. Usually it's sort of moldering or rotted or something, and sometimes it's a whole community.

The body can't distinguish between cleansing and punishing for the body is ignorant, and mute besides.