But I suspect that all writers come up with premises of some kind, fragments of narrative or scenarios, in the course of a working week.

Women who disapprove of men - and there's plenty to disapprove of - should remember how we started out, and how far we had to travel.

The plain state of being human is dramatic enough for anyone; you don't need to be a heroin addict or a performance poet to experience extremity. You just have to love someone.

I used to think--and given the way we ended up, maybe I still do--that all relationships need the kind of violent shove that a crush brings, just to get you started and to push you over the humps. And then, when the energy from that shove has gone and you come to something approaching a halt, you have to look around and see what you've got. It could be something completely different, it could be something roughly the same, but gentler and calmer, or it could be nothing at all.

It's love this and love that but of couse it's so easy to love someone you don't know, whether it's George Clooney or Monkey. Staying civil to someone with whom you've ever shared Christmas turkey- now there's a miracle.

The truth about autobiographical songs, he realized, was that you had to make the present become the past, somehow: you had to take a feeling or a friend or a woman and turn whatever it was into something that was over, so that you could be definitive about it. You had to put it in a glass case and look at it and think about it until it gave up its meaning.

Anyway, who lives a rich and beautiful life that I know? It's no longer possible, surely, for anyone who works for a living, or lives in a city, or shops in a supermarket, or watches TV, or reads a newspaper, or drives a car, or eats frozen pizzas. A nice life, possibly, with a huge slice of luck and a little spare cash. And maybe even a good life if... Well, let's not go into all that. But rich and beautiful lives seem to be a discontinued line.