When authors who write literary fiction begin to write screenplays, everybody assumes that's the end. Here's another who's never going to write well again.

One of the nice things about our marriage, at least to my way of thinking, is that my wife and I no longer have to argue every thing through. We each know what the other will say, and so the saying becomes an unnecessary formality. No doubt some marriage counselor would explain to us that our problem is a failure to communicate, but to my way of thinking we've worked long and hard to achieve this silence, Lily's and mine, so fraught with mutual understanding.

The line of gray along the horizon is brighter now, and with the coming light I feel a certainty: that there is, despite our wild imaginings, only one life. The ghostly others, no matter how real they seem, no matter how badly we need them, are phantoms. The one life we're left with is sufficient to fill and refill our imperfect hearts with joy, and then to shatter them. And it never, ever lets up.

My God, he couldn't help thinking, how terrible it is to be that age, to have emotions so near the surface that the slightest turbulence causes them to boil over. That, very simply, was what adulthood must be all about -- acquiring the skill to bury things more deeply. Out of sight and, whenever possible, out of mind.

In the end it all came down to companionship, to friendship, to sacrifice, to compromise.

It's no secret that in my books I'm trying to make the comic and the serious rub up against each other just as closely and uncomfortably as I can.

People in small towns, much more than in cities, share a destiny.