The whole magic of a plot requires that somebody be impeded from getting something over with.

Most movies are not very good. Most people know it and like to see them anyway.

Lyda was an exuberant, even a dramatic gardener.... She was always holding up a lettuce or a bunch of radishes with an air of resolute courage, as though she had shot them herself.

Hardly anyone about whom I deeply care at all resembles anyone else I have ever met, or heard of, or read about in literature.

The writer has a grudge against society, which he documents with accounts of unsatisfying sex, unrealized ambition, unmitigated loneliness, and a sense of local and global distress.

In almost every thriller, a point is reached when someone, usually calling from a phone booth, telephones with a vital piece of information, which he cannot divulge by phone. By the time the hero arrives at the place where they had arranged to meet, the caller is dead, or too near death to tell. There is never an explanation for the reluctance of the caller to impart his message in the first place.

Speech, tennis, music, skiing, manners, love- you try them waking and perhaps balk at the jump, and then you're over. You've caught the rhythm of them once and for all, in your sleep at night. The city, of course, can wreck it. So much insomnia. So many rhythms collide. The salesgirl, the landlord, the guests, the bystanders, sixteen varieties of social circumstance in a day. Everyone has the power to call your whole life into question here. Too many people have access to your state of mind. Some people are indifferent to dislike, even relish it. Hardly anyone I know.