“I say to myself that the result of the unnatural effort to which I subject myself, writing, must be the respiration of this reader, the operation of reading turned into a natural process, the current that brings the sentences to graze the filter of her attention, to stop for a moment before being absorbed by the circuits of her mind and disappearing, transformed into her interior ghosts, into what in her is most personal and incommunicable.”

“She read with an eagerness which hardly left her power of comprehension, and from impatience of knowing what the next sentence might bring, was incapable of attending to the sense of the one before her eyes.”

“It was just a moment. A moment like any other. But in that moment, the composure I had been relying on faltered and before I could stop myself, I called her name.”

“Whether or not you employ humor in dealing with difficult subjects, the tone of the writing is of the utmost importance. Personally, I can read about almost any subject if I feel a basic trust in, and respect for, the writer. The voice must have authority. But more than that, I must know that the writer is all right. If she describes a suicide attempt or a babysitter's cruelty to her, or a time of acute loneliness, I need to feel that the writer, not the character who survived the experience, is in control of telling the story....The tone of such pieces may be serious, ironic, angry, sad, or almost anything except whiny. There must be no hidden plea for help - no subtle seeking of sympathy. The writer must have done her work, made her peace with the facts, and be telling the story for the story's sake. Although the writing may incidentally turn out to be another step in her recovery, that must not be her visible motivation: literary writing is not therapy. Her first allegiance must be to the telling of the story and I, as the reader, must feel that I'm in the hands of a competent writer who needs nothing from me except my attention.”

“But the operation of writing implies that of reading as its dialectical correlative and these two connected acts necessitate two distinct agents. It is the joint effort of author and reader, which brings upon the scene that concrete and imaginary object which is the work of the mind. There is no art except for and by others.”

“Ghosts are not what I remember of my childhood; but somehow they infuse memories of myself as a child, the little girl in a storybook, with ghosts hovering around her.”