I think of novels as houses. You live in them over the course of a long period, both as a reader and as a writer.

For me, what I am making in the novel is a place to live. When I first switched from poetry to novels, I was asked why, and the metaphor I came up with was about poems as rooms. You can make a room perfect, but then you have to shut the door and never go back, whereas a novel is like a house - it can never be perfect, but you can make a life in it.

She was gone, and all that was left was the space where you'd grown around her, like a tree that grows around a fence.

lonely people are always up in the middle of the night.

I knew that to find and to feel Yoav again would be terribly painful, because of what had become of him, and because of what I knew he could ignite in me, a vitality that was excruciating because like a flare it lit up the emptiness inside me and exposed what I always secretly knew about myself: how much time I'd spent being only partly alive, and how easily I'd accepted a lesser life.

For her I changed pebbles into diamonds, shoes into mirrors, I changed glass into water, I gave her wings and pulled birds from her ears and in her pockets she found the feathers, I asked a pear to become a pineapple, a pineapple to become a lightbulb, a lightbulb to become the moon, and the moon to become a coin I flipped for her love.

He spoke of human solitude, about the intrinsic loneliness of a sophisticated mind, one that is capable of reason and poetry but which grasps at straws when it comes to understanding another, a mind aware of the impossibility of absolute understanding. The difficulty of having a mind that understands that it will always be misunderstood.