Our biggest technology that we ever, ever invented was articulated language with built-out grammar. It is that that allows us to imagine things far in the future and things way back in the past.

All stories are about wolves. All worth repeating, that is. Anything else is sentimental drivel. ...Think about it. There's escaping from the wolves, fighting the wolves, capturing the wolves, taming the wolves. Being thrown to the wolves, or throwing others to the wolves so the wolves will eat them instead of you. Running with the wolf pack. Turning into a wolf. Best of all, turning into the head wolf. No other decent stories exist.

Sometimes reactions can be quite surprising: readers like things that you, the author, feel you've barely gotten away with; or they dislike one of the parts you secretly think is one of your little gems.

You can mean more than one. You can mean thousands. I'm not in any immediate danger, I'll say to you. I'll pretend you can hear me. But it's no good, because I know you can't.

He's lost something, some illusion I used to think was necessary to him. He's come to realize he too is human. Or is this a performance, for my benefit, to show me he's up-to-date? Maybe men shouldn't have been told about their own humanity. It's only made them uncomfortable. It's only made them trickier, slier, more evasive, harder to read.

Every ending is arbitrary, because the end is where you write The end. A period, a dot of punctuation, a point of stasis. A pinprick in the paper: you could put your eye to it and see through, to the other side, to the beginning of something else. Or, as Tony says to her students, Time is not a solid, like wood, but a fluid, like water or the wind. It doesn't come neatly cut into even-sized length, into decades and centuries. Nevertheless, for our purposes we have to pretend it does. The end of any history is a lie in which we all agree to conspire.

Happy as a clam, is what my mother says for happy. I am happy as a clam: hard-shelled, firmly closed.