“In her hometown, she seems like someone else; maybe more like the person she used to be, like the person we all leave behind in our hometowns, the person whose skin we must wrestle into when we come back, like an old suit or a dress we once wore on a special occasion, one we can't quite understand how the passage of time has left the garment as it was, and us so unaware of how we've changed, as we suck in our guts to do up the zipper.”

“That's why we feel so disoriented, irritated even, when these touchstones from our past are altered. We don't like it when our hometown changes, even in small ways. It's unsettling. The playground! It used to be right here, I swear. Mess with our hometown, and you're messing with our past, with who we are. Nobody likes that.”

“And just like that, I became my mother. We all do, if only for a moment at a time. That person we never think we will be like when we grow up is the person we see in our own reflection. How did that happen so fast?”

“We feel that to reveal embarrassing or private things, we have given someone something, that, like a primitive person fearing that a photographer will steal his soul, we identify our secrets, our past and their blotches, with our identity, that revealing our habits or losses or deeds somehow makes one less of oneself. ”

“...maybe just once in this life someone loves us for the us we don't even know how to be yet. And if we lose him too early--in the name of all the promises in the world: a new job, a new city, an old love offering us happily ever after--we may just lose that chance to be our best self.”

“The world, every day, is New. Only for those born in, say, 1870 or so, can there be a meaningful use of the term postmodernism, because for the rest of us we are born and we see and from what we see and digest we remake our world. And to understand it we do not need to label it, categorize it. These labels are slothful and dismissive, and so contradict what we already know about the world, and our daily lives. We know that in each day, we laugh, and we are serious. We do both, in the same day, every day. But in our art we expect clear distinction between the two...But we don't label our days Serious Days or Humorous Days. We know that each day contains endless nuances - if written would contain dozens of disparate passages, funny ones, sad ones, poignant ones, brutal ones, the terrifying and the cuddly. But we are often loathe to allow this in our art. And that is too bad...”

“How many times in life can we make decisions that are important but will not hurt anyone? Are we obligated- maybe we are- to say yes to any choice when no one will be hurt? We use the word hurt when talking about things like this because when these things go wrong it can feel as if you were hit in the sternum by a huge animal that's run for miles just to strike you.”