Many of the artifacts of my house had become potential devices for my own destruction: the attic rafters (and an outside maple or two) a means to hang myself, the garage a place to inhale carbon monoxide, the bathtub a vessel to receive the flow from my opened arteries. The kitchen knives in their drawers had but one purpose for me.

What this country needs... what this great land of ours needs is something to happen to it. Something ferocious and tragic, like what happened to Jericho or the cities of the plain - something terrible I mean, son, so that when the people have been through hellfire and the crucible, and have suffered agony enough and grief, they’ll be people again, human beings, not a bunch of smug contented cows rooting at the trough.

The stigma of self-inflicted death is for some people a hateful blot that demands erasure at all costs.

Every writer since the beginning of time, just like other people, has been afflicted by what a friend of mine calls

Writing is a form of self-flagellation.

Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.

[However], the sufferer from depression has no option, and therefore finds himself, like a walking casualty of war, thrust into the most intolerable social and family situations. There he must ... present a face approximating the one associated with ordinary events and companionship. He must try to utter small talk and be responsive to questions, and knowingly nod, and frown and, God help him, even smile.