“And of course these days I feel like there is a nation of us - displaced southerners and children of the working class. We listen to Steve Earle, Mary J. Blige, and k.d. lang. We devour paperback novels and tell evil mean stories, value stubbornness above patience and a sense of humor more than a college education. We claim our heritage with a full appreciation of how often it has been disdained. And let me promise you, you do not want to make us angry.”

“We all nourish truth with our tongues not in sour-batter words that never take shape nor line-driven stories bent to skirt the edgeof our great exhaustion, desire, and doubt. We all use simply the words of our own livesto say what we really want, to lie spent on our lovers, put teeth to all we hate, to strain the juice of our history between what has been allowed and what has always been denied, the active desire to take hold of the root.”

“Women.Lord God, I used to follow these girls. THey would come at me, those girls who were not really girls anymore. Grown up, wounded, hurt and terrible. Pained and desperate. Mean and angry. Hungry and unable to say just what they needed. Scared, aching, they came into my bed like I could fix it. And every time I would try. I would do anything a woman wanted as long as she didn't want too much of me. As long as I could hide behind her need, I could make her believe anything. I would tell her stories. I would bury in them. I have buried more women than I am willing to admit. I have told more lies than I can stand.”

“Everything I know, everything I put in my fiction, will hurt someone somewhere as surely as it will comfort and enlighten someone else. What then is my responsibility? What am I to restrain? What am I to fear and alter--my own nakedness or the grief of the reader? I want my stories to be so good they are unforgettable; to make my ideas live and my own terrors real for people I will never meet. It is a completely amoral writer's lust. If we begin to agree that some ideas are too dangerous, too bad to invite inside our heads, then we stop the storyteller completely. We silence everyone who would tell us something that might be painful in our vulnerable moments.”

“To tell a great story, you really do have to step through the box that the world has put around you; you have to see it. You have to see what the world has defined you as. And you have to refute it in language that the world will understand. ... Repay the debt that kept you alive, you will make an art and you will take a leap. And, oh God, I hope you get all the way over to the other side. Because some of us don’t.”

“I have lived my life in pursuit of the remade world...I believe in truth. I believe in truth denied any use of it can believe in it. I know its power. I know the threat it represents to a world constructed on lies.I know the myths of the family that thread through our society's literature, music, politics - and I know the reality. The reality is that for many of us family was as much the incubator of despair as the safe nurturing haven the myths promised... But I also believe in hope...The worst thing done to us in the name of a civilized society is to label the truth of our lives material outside the legitimate subject matter of serious writers...I need you to do more than survive. As writers, as revolutionaries, tell the truth, your truth in your own way. Do not buy into their system of censorship, imagining that if you drop this character or hide that emotion, you can slide through their blockades. Do not eat your heart out in the hope of pleasing them. The only hope you have, the only hope any of us has, is the remade life.”

“I want hard stories, I demand them from myself. Hard stories are worth the difficulty. It seems to me the only way I have forgiven anything, understood anything, is through that process of opening up to my own terror and pain and reexamining it, re-creating it in the story, and making it something different, making it meaningful - even if the meaning is only in the act of the telling.”