Bland writing - timid, antiseptic, vanilla writing - is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

Outlaws, like lovers, poets, and tubercular composers who cough blood onto piano keys, do their finest work in the slippery rays of the moon.

Rules such as "Write what you know," and "Show, don't tell," while doubtlessly grounded in good sense, can be ignored with impunity by any novelist nimble enough to get away with it. There is, in fact, only one rule in writing fiction: Whatever works, works.

Some praise me, some blame me. I go the other way. Sometimes those things that attract the most attention to us are the things which afford us the greatest privacy

I'll bet I'm as old as you are." "I'm older than Sanskrit." "Well, I was waitress at the Last Supper." "I'm so old I remember when McDonald's had only sold a hundred burgers." "You win.

My personal motto has always been: Joy in spite of everything. Not just [mindless] joy, but joy in spite of everything. Recognizing the inequities and the suffering and the corruption and all that but refusing to let it rain on my parade. And I advocate this to other people.

I removed the freeway from its temporal context. Overpasses, cloverleafs, exit ramps took on the personality of Mayan ruins for me. Without destination, without cessation, my run was often silent and empty; there were no increments, no arbitrary graduations reducing time to functional units. I abstracted and purified.