She just happened to feel like it. Wasn’t that after all, the only reason there was? Had she ever had a less selfish, more complicated reason for doing anything in her life?

...you found you were saying yes when you meant no, and “We’ve got to be together in this thing” when you meant the very opposite ... and then you were face to face, in total darkness, with the knowledge that you didn’t know who you were. And how could anyone else be blamed for that?

The Revolutionary Hill Estates had not been designed to accommodate a tragedy. Even at night, as if on purpose, the development held no looming shadows and no gaunt silhouettes. It was invincibly cheerful, a toyland of white and pastel houses whose bright, uncurtained windows winked blandly through a dappling of green and yellow leaves … A man running down these streets in desperate grief was indecently out of place.

If my work has a theme, I suspect it is a simple one: that most human beings are inescapably alone, and therein lies their tragedy.

When you wrote it didn't matter if hysteria sometimes came up in your face and voice (unless, of course, you let it find its way into your "literary voice") because writing was done in merciful privacy and silence. Even if you were partly out of your mind it might turn out to be all right: you could try for control even harder than Blanche Dubois was said to have tried, and with luck you could still bring off a sense of order and sanity on the page for the reader. Reading, after all, was a thing done in privacy and silence too.

No one forgets the truth; they just get better at lying.

Intelligent, thinking people could take things like this in their stride, just as they took the larger absurdities of deadly dull jobs in the city and deadly dull homes in the suburbs. Economic circumstances might force you to live in this environment, but the important thing was to keep from being contaminated. The important thing, always, was to remember who you were.