If you want to draw people into the story, you really have to write as if you're writing a novel and make these actually-existing people, including the actually-existing person with my name, into a believable person on the page. And that requires distance. That requires not being right up against the events you're talking about.

Everest silences you...when you come down, nothing seems worth saying, nothing at all. You find the nothingness wrapping you up, like a sound. Non-being. You can't keep it up, of course. the world rushes in soon enough. What shuts you up is, I think, the sight you've had of perfection: why speak if you can't manage perfect thoughts, perfect sentences? It feels like a betrayal of what you've been through. But it fades; you accept that certain compromises, closures, are required if you're to continue.

We must conclude that it is not only a particular political ideology that has failed, but the idea that men and women could ever define themselves in terms that exclude their spiritual needs.

Science fiction is where I started out, really. When I was a kid, I was a complete addict of science fiction. It was one of my earliest interests as a writer, and I've just taken a long time to circle back around to it.

Five mysteries hold the keys to the unseen: the act of love, and the birth of a baby, and the contemplation of great art, and being in the presence of death or disaster, and hearing the human voice lifted in song.

The lessons one learns at school are not always the ones the school thinks it's teaching.

The sixty-minute drama form has become very rich.