“It was in this man's class that I first began to wonder if people who wrote fiction were not suffering from some kind of disorder--from what I've since come to think of, remembering the wild nocturnal rocking of Albert Vetch, as the midnight disease. The midnight disease is a kind of emotional insomnia; at every conscious moment its victim--even if he or she writes at dawn, or in the middle of the afternoon--feels like a person lying in a sweltering bedroom, with the window thrown open, looking up at a sky filled with stars and airplanes, listening to the narrative of a rattling blind, an ambulance, a fly trapped in a Coke bottle, while all around him the neighbors soundly sleep. this is in my opinion why writers--like insomniacs--are so accident-prone, so obsessed with the calculus of bad luck and missed opportunities, so liable to rumination and a concomitant inability to let go of a subject, even when urged repeatedly to do so.”

“The midnight disease is a kind of emotional insomnia; at ever conscious moment its victim—even if he or she writes at dawn, or in the middle of the afternoon—feels like a person lying in a sweltering bedroom, with the window thrown open, looking up at a sky filled with stars and airplanes, listening to the narrative of a rattling blind, an ambulance, a fly trapped in a Coke bottle, while all around him the neighbours soundly sleep.”

“It seemed to me that Q. was talking about the nature of the midnight disease, which started as a simple feeling of disconnection from other people, an inability to "fit in" by no means unique to writers, a sense of envy and of unbridgeable distance like that felt by someone tossing on a restless pillow in a world full of sleepers. Very quickly, though, what happened with the midnight disease was that you began actually to crave this feeling of apartness, to cultivate and even flourish within it. You pushed yourself farther and farther and farther apart until one black day you woke to discover that you yourself had become the chief object of your own hostile gaze.”

“Maybe the midnight disease was like that, too. After a while you lost the ability to distinguish between your fictional and actual words; you confused yourself with your characters, and the random happenings of your life with the machinations of a plot.”

“And in that moment he felt- for the first time that optimistic and cheerful boy allowed himself to feel- how badly made life was, how flawed. No matter how richly furnished you made it, with all the noise and variet of Something, Nothing always found a way in, seeped through the cracks and patches. Mr. Feld was right; life was like baseball, filled with loss and error, with bad hops and wild pitches, a game in which even champions lost almost as often as they won and even the best hitters were put out 70 percent of the time”

“I hate it that they even count errors,' Ethan said. . . . 'What kind of game is that? No other sport do they do that, Dad. There's no other sport where they put the errors on the freaking scoreboard for everybody to look at. They don't even have errors in other sports. They have fouls. They have penalties. Those are things that players could get on purpose, you know. But in baseball they keep track of how many accidents you have.'* * *Errors . . . Well, they are a part of life, Ethan,' he tried to explain. 'Fouls and penalties, generally speaking, are not. That's why baseball is more like life than other games. Sometimes I feel like that's all I do in life, keep track of my errors.'But Dad, you're a grown-up,' Ethan reminded him. 'A kid's life isn't supposed to be that way.”

“He looked so profoundly disappointed in me that I wondered for a moment if he was someone I knew.”