As a farm girl, even when I was quite young, I had my 'farm chores' - but I had time also to be alone, to explore the fields, woods and creek side. And to read.

I wrote a novel called "Blonde," which is about Norma Jean Baker, who becomes Marilyn Monroe, which I called a fictitious biography. That uses the material as if it were myth - that Marilyn Monroe is like this mythical figure in our culture.

To claim - to claim repeatedly - that you are innocent of what it is claimed by others that you have done, or might have done, or are in some quarters strongly suspected of having done, is never enough unless others, numerous others, will say it for you.

What madness! Yet she would do it, if she could force herself. She'd become, she believed, a stronger person: a willful, resolute. Like the man who adored her, reckless.

Alone, she took hot baths and sat exhausted in the steaming water, wondering at her perpetual exhaustion. All that winter she noticed the limp, languid weight of her arms, her veins bulging slightly with the pressure of her extreme weariness ... one day in January she drew a razor blade lightly across the inside of her arm, near the elbow, to see what would happen.

I think all art comes out of conflict. When I write I am always looking for the dramatic kernel of an event, the junctures of people's lives when they go in one direction, not another.

Adriana loved even the rank animal smell of the man's body, her sweat-slicked breasts and belly flattened beneath him, and her arms and legs clutching him as a drowning woman might clutch another person to save her life. Don't don't don't don't leave me. DON'T LEAVE ME. As in animal copulation the frenzy is to be locked together not out of sentiment or choice but physical compulsion. As if bolts of electric current ran through both their bodies and would only release them from each other when it ceased.