“It was the pleasure that a liar takes in his lie as it enters the world wearing the accent and raiment of the truth, sounding so right and plausible that--if he is any kind of liar at all--he begins, himself, to believe it. It was the pleasure that a maker of golems takes as the force of his words, the rhythm and accuracy of his alphabetical spells, blow life into the cold clay nostrils, and the great stony hand unclenches and reaches for his own.”

“I have come to see this fear, this sense of my own imperilment by my creations, as not only an inevitable, necessary part of writing fiction but as virtual guarantor, insofar as such a thing is possible, of the power of my work: as a sign that I am on the right track, that I am following the recipe correctly, speaking the proper spells. Literature, like magic, has always been about the handling of secrets, about the pain, the destruction and the marvelous liberation that can result when they are revealed. Telling the truth, when the truth matters most, is almost always a frightening prospect. If a writer doesn’t give away secrets, his own or those of the people he loves; if she doesn’t court disapproval, reproach and general wrath, whether of friends, family, or party apparatchiks; if the writer submits his work to an internal censor long before anyone else can get their hands on it, the result is pallid, inanimate, a lump of earth. The adept handles the rich material, the rank river clay, and diligently intones his alphabetical spells, knowing full well the history of golems: how they break free of their creators, grow to unmanageable size and power, refuse to be controlled. In the same way, the writer shapes his story, flecked like river clay with the grit of experience and rank with the smell of human life, heedless of the danger to himself, eager to show his powers, to celebrate his mastery, to bring into being a little world that, like God’s, is at once terribly imperfect and filled with astonishing life.Originally published in The Washington Post Book World”

“It was on the steamer carrying him through the Golden Gate that he happened to reach down into the hole in the lining of the right pocket of his overcoat and discover the envelope that his brother had solemnly handed to him almost a month before. It contained a single piece of paper, which Thomas had hastily stuffed into it that morning as they all were leaving the house together for the last time, by way or in lieu of expressing the feelings of love, fear, and hopefulness that his brother's escape inspired. It was the drawing of Harry Houdini, taking a calm cup of tea in the middle of the sky, that Thimas had made in his notebook during his abortive career as a librettist. Josef studied it, feeling as he sailed toward freedom as if he weighed nothing at all, as if every precious burden had been lifted from him.”

“The April night on which Sammy felt most aware of the luster of his existence - the moment when, for the first time in his life, he was fully conscious of his own happiness - was a night that he would never discuss with anyone at all.”

“Every universe, our own included, begins in conversation. Every golem in the history of the world, from Rabbi Hanina's delectable goat to the river-clay Frankenstein of Rabbi Judah Loew ben Bezalel, was summoned into existence through language, through murmuring, recital, and kabbalistic chitchat -- was, literally, talked into life.”

“Approaching the Williamsburg Bridge - not really certain of how he had managed to find himself there - he experienced an extraordinary moment of buoyancy, of grace. There was a lot more traffic now, but his shifting was smooth and the sturdy little car was adroit at changing lanes. He launched himself out over the East River. He could feel the bridge humming underneath his wheels and all around him could sense the engineering of it, the forces and tensions and rivets that were all conspiring to keep him aloft. To the south, he glimpsed the Manhattan Bridge, with its Parisian air, refined, elegant, its skirts hiked to reveal tapered steel legs, and, beyond, the Brooklyn Bridge, like a great ropy strand of muscle. In the other direction lay the Queensboro Bridge, like two great iron tsarinas linking hands to dance. And before him, the city that had sheltered him and swallowed him and made him a modest fortune loomed, gray and brown, festooned with swags and boas of some misty gray stuff, a compound of harbor fog and spring dew and its own steamy exhalations. Hope had been his enemy, a frailty that he must at all costs master, for so long now that it was a moment before he was willing to concede that he had let it back into his heart.”

“... he lifted his eyes. The eternal kind went out of his shoulder. He opened his mouth and closed it again, speechless with outrage, joy, and wonder. Then he burst into tears.”