I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.

These days, there are a great many books about childhood trauma and its effects, but at the time all the experts agreed that one should forget about it as quickly as possible and pick up where you left off.

I wish I'd known at the beginning that all I really had to do is trust myself. Everything would work out as if by magic once I actually leaned back into my imagination and just let it work, and not question it and not fret about it.

God, in the orthodox view, causes famine, plague, and flood. Was God evil? Evil is a convenient fiction.

In violence there is often the quality of yearning - the yearning for completion. For closure. For that which is absent and would if present bring to fulfillment. For the body without which the wing is a useless frozen ornament. ("A Short Guide To The City")

Fear and I were old buddies, despite my best efforts to the contrary.

You cannot overestimate the role of intuition in fiction writing. Or the role of accident or randomness. These things are very central. This is never really admitted. You have to cover the pages. You have to have those people do things. And the things they do have to be relevant to the entire concern. The specific things they do don't much matter, you just have to have them do something that counts.