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.

I thought there's something to be said for honor in this world where there doesn't seem to be any honor left. I thought that maybe happiness wasn't really anything more than the knowledge of a life well spent, in spite of whatever immediate discomfort you had to undergo, and that if a life well spent meant compromises and conciliations and reconciliations, and suffering at the hands of the person you love, well then better that than live without honor.

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.

I'm simply the happiest, the placidest, when I'm writing, and so I suppose that that, for me, is the final answer. ... It's fine therapy for people who are perpetually scared of nameless threats as I am most of the time.

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

Let's face it, writing is hell.

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.