If prose can cast a spell, we will listen to it no matter what it's saying. If a narrative uses language in a magical and enlivening way, we will listen to the story. But if the language doesn't cast a spell, we will listen to it only if it is telling us something that actually happened.

It was part of being a girl in the '60s that you were creative.

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 hairbrush and told, "There you go." -- Willing

Twenty-year-olds have a kind of emotional idealism about relationships and about the world that enables them to say, 'No, you lied to me. Goodbye.' When they see wickedness, they walk away.

I missed him. Love, I realized, was something your spine memorized. There was nothing you could do about that.

She had, without realizing it at the time, learned to follow Nick's gaze, learned to learn his lust...his desires remained memorized within her. She looked at the attractive women he would look at...She had become him: she longed for these women. But she was also herself, and so she despised them. She lusted after them, but she also wanted to beat them up. A rapist. She had become a rapist, driving to work in a car.

Nothing's a joke with me. It just all comes out like one.