I’m a man who falls in love so easily, and with such reckless lack of consideration for the consequences of my actions, that from the very first instant of entering into a marriage I become, almost by definition, an adulterer.

When I finish a first draft, it's always just as much of a mess as it's always been. I still make the same mistakes every time.

I don't care what is written," Meyer Landsman says. "I don't care what supposedly got promised to some sandal-wearing idiot whose claim to fame is that he was ready to cut his own son's throat for the sake of a hare-brained idea. I don't care about red heifers and patriarchs and locusts. A bunch of old bones in the sand. My homeland is in my hat. It's in my ex-wife's tote bag.

Maybe all wondrous books appear in our lives the way Milo’s tollbooth appears, an inexplicable gift, cast up by some curious chance that comes to feel, after we have finished and fallen in love with the book, like the workings of a secret purpose. Of all the enchantments of beloved books the most mysterious-the most phantasmal-is the way they always seem to come our way precisely when we need them.

Most science fiction seemed to be written for people who already liked science fiction; I wanted to write stories for anyone, anywhere, living at any time in the history of the world.

It never takes longer than a few minutes, when they get together, for everyone to revert to the state of nature, like a party marooned by a shipwreck. That's what a family is. Also the storm at sea, the ship, and the unknown shore. And the hats and the whiskey stills that you make out of bamboo and coconuts. And the fire that you light to keep away the beasts.

We have the idea that our hearts, once broken, scar over with an indestructible tissue that prevents their ever breaking again in quite the same place.