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.

Depression is a disorder of mood, so mysteriously painful and elusive in the way it becomes known to the self -- to the mediating intellect-- as to verge close to being beyond description. It thus remains nearly incomprehensible to those who have not experienced it in its extreme mode.

[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.

I felt myself no longer a husk but a body with some of the body's sweet juices stirring again. I had my first dream in many months, confused but to this day imperishable, with a flute in it somewhere, and a wild goose, and a dancing girl.

It's fine therapy for people who are perpetually scared of nameless threats as I am most of the time — for jittery people.

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.

The good writing of any age has always been the product of someone's neurosis, and we'd have a mighty dull literature if all the writers that came along were a bunch of happy chuckleheads.