“The large, gaping flaws in the construction of the stories--mad wives in the attic, strange apparitions in Belgium--are a representation of the life she could not face; these gothic subterfuges represent the mind at a breaking point, frantic to find any way out. If the flaws are only to be attributed to the practicce of popular fiction of the time, we cannot then explain the large amount of genuine feeling that goes into them. They stand for the hidden wishes of an intolerable life.”

“Our life stories are largely constructed and without mindfulness can prove destructive.”

“Thus, although life is by and large unthrilling, when we do find ourselves in the sort of situation upon which thrillers dote we cannot really experience it, because our imaginations are occupied by the familiar tropes of popular fiction. And the result of this is a kind of dull bafflement, and the sense that whatever it is cannot really be happening. We actually think that phrase: this can’t be happening to me.”

“Flannery O'Connor ... points out that 'a story really isn't good unless it successfully resists paraphrase. ...' ... Paraphrasing can force us into deeper levels of both story and self. O'Connor also says that a good story 'hangs on and expands the mind.' ... Most importantly, as we explore the largeness of stories, their 'macro' possibilities, we are forced further into the largeness of our own lives. The 'hidden' story, made visible, can be that which is most difficult to confront in our experiences and, at the same time, the story that demands to be told.”

“Nuclear episodes stand out in bold print in life story as narrative high points, low points and turning points, explaining how the person has remained the same and how he or she has changed over time.”

“There is no real bravery in getting paid to save someone's life. However, there is a large amount of bravery in a nurse break dancing at the hospital's Christmas party.”