A story is told as much by silence as by speech.

We keep secrets from ourselves that all along we know.

Yes we are devilish; that is true we cackle. Yes we are dark like the soil and wild like the animals. And we turn to each other and stare into this darkness. We find it beautiful. We find this darkness irresistible. We cease all hiding.

Is it a coincidence that stories from the private life became more popular just as the grand hope for public redemption through revolution was beginning to sour? I witnessed a similar shift in taste in my own time. In the 1960s, while a hopeful vision of a just society arose again, countless poems and plays concerning politics and public life were written, read, and performed. But after the hope diminished and public life seemed less and less trustworthy, this subject was less in style.

In one sense I feel that my book is a one-woman argument against determinism.

... This is the paradox of vision: Sharp perception softens our existence in the world.

We are the bird's eggs. Bird's eggs, flowers, butterflies, rabbits, cows, sheep, we are caterpillars; we are leaves of ivy and springs of wildflower. We are women. We rise from the wave. We are gazelle and doe, elephant and whale, lilies and roses and peach, we are air, we are flame, we are oyster and pearl, we are girls. We are woman and nature. And he says he cannot hear us speak. But we hear.