There is an hour, a minute - you will remember it forever - when you know instinctively on the basis of the most inconsequential evidence, that something is wrong. You don't know - can't know - that it is the first of a series of "wrongful" events that will culminate in the utter devastation of your life as you have known it.

It is important for me to discover the ideal title, for without this title the story or novel isn't quite in focus.

It's a taboo subject. How the dead are betrayed by the living. We who are living--we who have survived--understand that our guilt is what links us to the dead. At all times we can hear them calling to us, a growing incredulity in their voices, You will not forget me -- will you? How can you forget me? I have no one but you.

...failure is a human condition, not victory over odds; for each Hellen Keller who triumphs, there are tens of millions who fail, mute and deaf and insensate as vegetables tossed upon a vast garbage pile to rot.

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.

Detroit, my 'great' subject, made me the person I am, consequently the writer I am - for better or worse.

I don't teach literature from my perspective as 'Joyce Carol Oates.' I try to teach fiction from the perspective of each writer. If I'm teaching a story by Hemingway, my endeavor is to present the story that Hemingway wrote in its fullest realization.