For a long time I wanted to draw, but I could never get the proportions right. My still life sketches were the artistic equivalent of someone who has misjudged the space constraints of a postcard, the handwriting shrinking uncomfortably at the bottom.

Every time I open the drawer, it's a trip down Memory Lane, which, if you don't turn off at the right exit, merges straight into the Masochistic Nostalgia Highway.

Some of the writers I admire who seem very, very funny and very emotional to me can develop a closeness with the reader without giving too much of themselves away. Lorrie Moore comes to mind, as does David Sedaris. When they write, the reader thinks that they're being trusted as a friend.

Hey there.' I cleared my throat. 'How are you?' I'm engaged!' Incidentally, this is an unacceptable answer to that question.

In New York and L.A., there is sort of that silent competition to be on the cutting edge of something. You end up having a conversation with how the world receives your work, especially if you are writing narrative, not fiction. Sometimes it is an awkward conversation. It's like group therapy.

I wanted to be an archaeologist. But in school you have to take a tremendous amount of statistics for that, and I am not good at statistics. So I hit a real wall with archaeology. It's probably like wanting to be an architect - you think it's all fun and games, and then you have to get out a calculator and you're done.

I was taught that candles are like house cats - domesticated versions of something wild and dangerous. There's no way to know how much of that killer instinct lurks in the darkness. I used to think the house-burning paranoia was the result of some upper-middle-class fear regarding the potential destruction of a half-million-dollar Westchester house the size of a matchbox. But then I realized the fear stemmed from something far less complex: we're not used to fire. Candles are a staple of the Judaic existence and, like many suburban residents before us, we're pretty bad Jews.