Her life her life had taken on the shape of a terrible mistake. She hadn't been given the proper tools to make a real life with, she decided, that was it. She'd been given a can of gravy and a hair-brush and told, "There you go." She'd stood there for years, blinking and befuddled, brushing the can with the brush.

It was not miserable - often I did not miss her at all. But there was sometimes a quick, sinking ache when I walked in the door and saw she was not there. Twice, however, I'd felt the same sinking feeling when she was.

Women now were told not to settle for second best, told that they deserved better, but at a time, it seemed, when there was so much less to go around.

There was the usual dreaminess, I suppose. Also a shyness that caused me - and others - to notice that I could express myself better by writing than by speaking. This is typical of many writers, I think. What is a drawback in childhood is an asset to a literary life. Not being fluent on one’s feet sends one to the page and a habit is born.

I don't think of any sentence as a "one-liner", but I do pay attention to how people actually speak when they are being funny. Rhythm is key.

Later I would come to believe that erotic ties were all a spell, a temporary psychosis, even a kind of violence, or at least they coexisted with these states.

You couldn't pretend you had lost nothing... you had to begin there, not let your blood freeze over. If your heart turned away at this, it would turn away at something greater, then more and more until your heart stayed averted, immobile, your imagination redistributed away from the world and back only toward the bad maps of yourself, the sour pools of your own pulse, your own tiny, mean, and pointless wants.