I write from the place of inquiry. The first draft is a discovery period to see what I know and what I don't know. My task is simply to follow the words. There are surprises along the way. I just have to get it down. Call it the sculptor's clay.

Today, I feel stronger, learning to live within the natural cycles of a day and to not expect too much of myself. As women, we hold the moon in our bellies. It is too much to ask to operate on full-moon energy three hundred and sixty-five days a year. I am in a crescent phase.

I come from a culture that embodies the need to convert others to "the truth." The Mormon Church has one of the largest missionary programs in the world. That does not interest me.

To me, we are in the midst of such broad-scale destruction, both psychically and physically, that the only thing that can threaten the grip, loosen the hold, of economism, I believe, is a discussion of the sacred born out of our regard and compassion and intelligence for the earth and the creatures on the earth.

My family lives all around me. We see each other daily. It's very, very complicated. I think that families hold us together and they split us apart.

Having lived in Utah all of my life, I can tell that in many ways I know of no place more lonely, no place more unfamiliar. When I talk about how it is both a blessing and a burden to have those kinds of roots, it can be terribly isolating, because when you are so familiar, you know the shadow.

When Pico [Iyer] talks about home being a place of isolation, I think he's right. But it's the paradox. I think that's why I so love Great Salt Lake. Every day when I look out at that lake, I think, "Ah, paradox" - a body of water than no one can drink. It's the liquid lie of the desert. But I think we have those paradoxes within us and certainly the whole idea of home is windswept with paradox.