There's this great Ron Carlson story, "A Note on the Type," and it's about this guy who keeps escaping from prison. He's really good at escaping, but he gets caught all the time, because he can't stop writing his name on underpasses where he's running from the law. And there's this whole beautiful paragraph about how to run is to write. And, you know, it's obviously about the writer's life.

I'm not very interested in telling the facts. I have a lot of investment in telling the truth.

The more important question, of course, was what the new Lucy would do, and even though I was pretty sure the old Lucy wouldn't be around much anymore, I was a little bit afraid the new Lucy hadn't yet shown up.

Stillness is a harder concept for me than ecstasy, but I can imagine it best when I am fully present and paying strict attention to a place I am moving through.

There was something about the prairie for me—it wasn’t where I had come from, but when I moved there it just took me in and I knew I couldn’t ever stop living under that big sky.

Give me a labyrinth to walk and I can usually free my mind.

Every day at about four o'clock, I would go up to a farmhouse - or whatever kind of house was around - and knock on the door and say, "Hi, I'm biking across Canada, and I'm wondering if I could pitch my tent on your land." And sometimes people slammed the door in my face, but the vast majority of the time they said, "Of course," and then they said, "Come for dinner," and then they packed me food the next day and fed me breakfast and sometimes they got out the bottle of wine they'd been saving for a special occasion.