“You couldn't pay for her hats,' her father, a ship's captain, had told her suitors by way of discouragement, and perhaps they had all been discouraged but my grandfather, an innocent from the Georgetown Divide who read books.”

“I recall an August afternoon in Chicago in 1973 when I took my daughter, then seven, to see what Georgia O’Keeffe had done with where she had been. One of the vast O’Keeffe ‘Sky Above Clouds’ canvases floated over the back stairs in the Chicago Art Institute that day, dominating what seemed to be several stories of empty light, and my daughter looked at it once, ran to the landing, and kept on looking. "Who drew it," she whispered after a while. I told her. "I need to talk to her," she said finally.”

“I just can't see the upside in this," I heard myself say by way of explanation. Later he said that if John had been sitting in the office he would have found this funny, as he himself had found it. "Of course I knew what you meant to say, and John would have known too, you meant to say you couldn't see the light at the end of the tunnel." I agreed, but this was not in fact the case. I had meant pretty much exactly what I said: I couldn't see the upside in this. As I thought about the difference between the two sentences I realized that my impression of myself had been of someone who could look for, and find, the upside in any situation. I had believed in the logic of popular songs. I had looked for the silver lining. I had walked on through the storm. It occurs to me now that these were not even the songs of my generation. They were the songs, and the logic, of the generation or two that preceded my own. The score for my generation was Les Paul and Mary Ford, "How High the Moon," a different logic altogether. It also occurs to me, not an original thought but novel to me, that the logic of those earlier songs was based on self-pity. The singer of the song about looking for the silver lining believes that clouds have come her way. The singer of the song about walking on through the storm assumes that the storm could otherwise take her down.”

“There could be no snakes in Quintana Roo's garden.Only later did I see that I had been raising her as a doll.”

“There could be no snake in Quntana Roo's garden.Only later did I see that I had been raising her as a doll.”

“New people could be seen, by people like my grandfather, as indifferent to everything that had made California work, but the ambiguity was this: new people were also who were making California rich.”

“He ran his fingers over the moist ends of her hair and across her face. Her eyes were wet. Jesus Christ. How many nights had he heard Lily crying. As some parents sleep through fire, thunderstorms, and voices at the back door only to wake at a child’s whisper, so Everett heard Lily crying at night. Her muffled sobs seemed to have broken his dreams for years. He had heard her even at Fort Lewis, even in Georgia, finally at Bliss. That was Lily crying in the wings whenever the priest came to tear up his mother’s grave. Lily cried in the twilight field where he picked wild poppies with Martha; Lily’s was the cry he heard those nights the kiln burned, the levee broke, the ranch went to nothing.”