Only later did I come to understand that to be a mother is to be an illusion. No matter how vigilant, in the end a mother can't protect her child - not from pain, or horror, or the nightmare of violence, from sealed trains moving rapidly in the wrong direction, the depravity of strangers, trapdoors, abysses, fires, cars in the rain, from chance.

The clarity was startling and Samson wondered whether he was imagining these moments. Not that they hadn't happened at all, but that they had been embellished by details from elsewhere, fragments that survived the obliteration of other memories, vagrant data that gravitated and stuck to what was left to remember. But in the end he rejected this idea. The memories were too perfect: take one detail away and they collapsed into disorder.

...larger than life...I've never understood that expression. What's larger than life?

...after all, who isn't a survivor from the wreck of childhood?

What interests me very much as a writer is the ability for writing to have our lives to be occupied so vividly by others. I think that's what we long for as writers.

When you're younger, it's all theoretical. It's all potential. As you get older, it becomes actual, and your life gets filled with unexpected complexity; some of it asked for, and some of it not. It becomes richer, I find.

I wished to punish her for her intolerable stoicism, which made it impossible for me to ever be truly needed by her in the most profound ways a person can need another, a need that often goes by the name of love.