“How did one even fraternize with people who could not entertain vivid scenarios of self-mutilation? How was the sexual act even possible if one's partner could not entertain being crushed under a truck, just as a cathartic exercise? What important piece of her brain was missing that deprived her of such, well, deeply necessary acts of physical editing?”

“Sorry, I said to myself, wondering how many times in my marriage I'd said that, how many times I'd meant it, how many times Claire had actually believed it, and, most important, how many times the utterance had any impact whatsoever on our dispute. What a lovely chart one could draw of this word Sorry.”

“The simple answer is that I have changed my techniques in order to avoid the relentless sameness of my material, but I have probably only found new costumes, not new creatures entirely. In the past, if I wanted to sound a note on a piano (in prose), I didn’t just have to purchase and install the piano, I had to build it. But before I built it I had to grow the trees whose wood would yield the piano, and probably I had to create the soil and landscape through which those trees would burst. Then there was the problem of the fucking seeds. Where did they come from? I had to source them. With such mania I was either onto something or I completely misunderstood what a fiction writer was supposed to do. Simple things, even entirely undramatic ones, could not occur unless I created them from whole cloth. I was superstitious about taking anything for granted, but it also locked me into a kind of fanatical object fondling that could, on a bad day, preclude any exploration of the human (even though the process of trying to remake the world on the page is fairly, pathetically, human). This set of interests kept me away from what is usually called narrative. It wasn’t some ideological position, or an artistic stance, it was just one set of obsessions winning out over another. On the other hand, I think that I have always tried to create feeling, and then to pulse it into the reader with language. It’s very difficult to figure out how to do this. Storytelling is one way — conventional narrative or whatever you want to call it — but are there other methods worth exploring? The ground shifts, and I change my mind about what might work. How to create immense, unforgettable feeling from language? This ambition hasn’t really changed, it’s just that I want to cultivate new approaches, to try to circle in on a more vivid way to accomplish it.”

“I needed my daughter to disappear from my sight. If I could have had a wish, I would have wished her away.”

“The other kids formed a roving pack, moving like one of those clusters of birds that seem to share a single, frantic brain.”

“To refrain from storytelling is perhaps one of the highest forms of respect we can pay. Those people, with no stories to circle them, can die without being misunderstood.”

“Being with him was like being alone underwater -- everything was slow; nothing counted; I could not be harmed; I would feel dry and cold when I resurfaced.”