"Doctors tend to enter the arenas of their profession's practice with a brisk good cheer that they have to then stop and try to mute a bit when the arena they're entering is a hospital's fifth floor, a psych ward, where brisk good cheer would amount to a kind of gloating. This is why doctors on psych wards so often wear a vaguely fake frown of puzzled concentration, if and when you see them in fifth-floor halls. And this is why a hospital M.D.--who's usually hale and pink-cheeked and poreless, and who almost always smells unusually clean and good--approaches any psych patient under this care with a professional manner somewhere between bland and deep, a distant but sincere concern that's divided evenly between the patient's subjective discomfort and the hard facts of the case."

"If an art form is marginalized it's because it's not speaking to people."

"She was terrified of everything, and terrified to show it."

"To be willing to sort of die in order to move the reader, somehow. Even now I'm scared about how sappy this'll look in print, saying this."

"I often think I can see it in myself and in other young writers, this desperate desire to please coupled with a kind of hostility to the reader."

"What if there was something essentially wrong with Claude Sylvanshine that wasn't wrong with other people? What if he was simple ill-suited, the way some people are born without limbs or certain organs? The neurology of failure. What if he was simply born and destined to live in the shadow of Total Fear and Despair, and all his so-called activities were pathetic attempts to distract him from the inevitable?"

"Tell them there are no holes for your fingers in the masks ofmen. Tell them how could you ever even hope to love what you can'tgrab onto."

"There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And an outstanding reason for choosing some sort of God or spiritual-type thing to worship--be it J.C. or Allah, be it Yahweh or the Wiccan mother-goddess or the Four Noble Truths or some infrangible set of ethical principles--is that pretty much anything else you worship will eat you alive."

"An ad that pretends to be art is -- at absolute best -- like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what's sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill's real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair."

"Mario, what do you get when you cross an insomniac, an unwilling agnostic and a dyslexic?""I give.""You get someone who stays up all night torturing himself mentally over the question of whether or not there's a dog."

"It is also lonely on a level that cannot be conveyed ... If a person in physical pain has a hard time attending to anything except that pain, a clinically depressed person cannot even perceive any other person or thing as independent of the universal pain that is digesting her cell by cell."

"I think I was very often bored as a child, but boredom is not what I knew it as-what I knew was that I worried a lot."

"In school I ended up writing three different papers on "The Castaway" section of Moby-Dick, the chapter where the cabin boy Pip falls overboard and is driven mad by the empty immensity of what he finds himself floating in. And when I teach school now I always teach Crane's horrific "The Open Boat," and get all bent out of shape when the kids find the story dull or jaunty-adventurish: I want them to feel the same marrow-level dread of the oceanic I've always felt, the intuition of the sea as primordial nada, bottomless, depths inhabited by cackling tooth-studded things rising toward you at the rate a feather falls."

"Why do prostitutes when they get straight always try and get so prim? It's like long-repressed librarian-ambitions come flooding out."

"Rap's conscious response to the poverty and oppression of U.S. blacks is like some hideous parody of sixties black pride."

"A true Democratic Spirit is up there with religious faith and emotional maturity and all those other top-of-the-Maslow-Pyramid-type qualities that people spend their whole lives working on. A Democratic Spirit's constituent rigor and humility and self-honesty are, in fact, so hard to maintain on certain issues that it's almost irresistibly tempting to fall in with some established dogmatic camp and to follow that camp's line on the issue and to let your position harden within the camp and become inflexible and to believe that he other camps are either evil or insane and to spend all your time and energy trying to shout over them."

"For me, art that's alive and urgent is about what it is to be a human being."

"The interesting thing is why we're so desperate for this anesthetic against loneliness."

"To experience commitment as the loss of options, a type of death, the death of childhood's limitless possibility, of the flattery of choice without duress-this will happen, mark me. Childhood's end."

"God, what a ghastly enterprise to be in, though--and what an odd way to achieve success. I'm an exhibitionist who wants to hide, but is unsuccessful at hiding; therefore, somehow I succeed."

"We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story."

"Good fiction's job is to comfort the disturbed and disturb the comfortable."

"No one can call themselves a writer until he or she has written at least fifty stories."

"The patriotic or religious bumper stickers always seem to be on the biggest, most disgustingly selfish vehicles driven by the ugliest, most inconsiderate and aggressive drivers, who are usually talking on cell phones as they cut people off in order to get just twenty stupid feet ahead in the traffic jam..."

"Nuclear weapons and TV have simply intensified the consequences of our tendencies, upped the stakes."

"The worst thing about irony for me is that it attenuates emotion."

"I read,' I say. 'I study and read. I bet I've read everything you've read. Don't think I haven't. I consume libraries. I wear out spines and ROM drives. I do things like get in a taxi and say, "The library, and step on it."

"Then he looked up, despite all best prior intentions. In four minutes, it would be another hour; a half hour after that was the ten-minute break. Lane Dean imagined himself running around on the break, waving his arms and shouting gibberish and holding ten cigarettes at once in his mouth, like a panpipe. Year after year, a face the same color as your desk. Lord Jesus. Coffee wasn't allowed because of spills on the files, but on the break he'd have a big cup of coffee in each hand while he pictured himself running around the outside grounds, shouting. He knew what he'd really do on the break was sit facing the wall clock in the lounge and, despite prayers and effort, count the seconds tick off until he had to come back and do this again. And again and again and again."

"Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it."

"And we hate this possibility in movies; we hate this "both" shit. "Both" comes off as sloppy characterization, muddy filmmaking, lack of focus. ... But I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from."

"The truth will set you free. But not until it is finished with you."

"Workshop Hermeticism, fiction for which the highest praise involves the words 'competent,' 'finished,' 'problem-free,' fiction over which Writing-Program pre- and proscriptions loom with the enclosing force of horizons: no character without Freudian trauma in accessible past, without near-diagnostic physical description; no image undissolved into regulation Updikean metaphor; no overture without a dramatized scene to 'show' what's 'told'; no denouement prior to an epiphany whose approach can be charted by and Freitag on any Macintosh."

"The assumption that you everyone else is like you. That you are the world. The disease of consumer capitalism. The complacent solipsism."

"This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants."

"But someone sometime let you forget how to choose, and what. Someone let your peoples forget it was the only thing of importance, choosing. . . How to choose any but a child's greedy choices if there is no loving-filled father to guide, inform, teach the person how to choose? How is there freedom to choose if one does not learn how to choose?"

"You know, the whole thing about perfectionism. The perfectionism is very dangerous. Because of course if your fidelity to perfectionism is too high, you never do anything. Because doing anything results in...it's actually kind of tragic because you sacrifice how gorgeous and perfect it is in your head for what it really is. And there were a couple of years where I really struggled with that."

"But if you really learn how to pay attention, then you will know there are other options. It will actually be within your power to experience a crowded, hot, slow, consumer-hell type situation as not only meaningful, but sacred, on fire with the same force that made the stars: love, fellowship, the mystical oneness of all things deep down."

"There's been time this whole time. You can't kill time with your heart. Everything takes time."

"What teachers and the administration in that era never seemed to see was that the mental work of what they called daydreaming often required more effort and concentration than it would have taken simply to listen in class. Laziness is not the issue. It is just not the work dictated by the administration."

"The fraud part of me was always there, just as a puzzle piece, objectively speaking, is a true piece of the puzzle even before you see how it fits."

"I guess a bit part of serious fiction's purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves."

"The real, many-veiled answer to the question of just what goes through a great player's mind as he stands at the center of hostile crowd-noise and lines up the free-throw that will decide the game might well be: nothing at all."

"There is something magical to me about literature and fiction and I think it can do things not only that pop culture cannot do but that are urgent now: one is that by creating a character in a work of fiction you can allow a reader to leap over the wall of self and to allow him to imagine himself not only somewhere else but someone else in a way that television and movies, in a way that no other form can do. I think people are essentially lonely and alone and frightened of being alone."

"One of the things that makes Wittgenstein a real artist to me is that he realized that no conclusion could be more horrible than solipsism."

"It's not what you lift, it's where you carry it."

"There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says "Morning, boys. How's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes "What the hell is water?"

"LaMont, the truth is that the world is incredibly, incredibly, unbelievably old. You suffer with the stunted desire caused by one of its oldest lies. Do not believe the photographs. Fame is not the exit from any cage."

"I felt despair. The word's overused and banalified now, despair, but it's a serious word, and I'm using it seriously. For me it denotes a simple admixture - a weird yearning for death combined with a crushing sense of my own smallness and futility that presents as a fear of death. It's maybe close to what people call dread or angst. But it's not these things, quite. It's more like wanting to die in order to escape the unbearable feeling of becoming aware that I'm small and weak and selfish and going without any doubt at all to die. It's wanting to jump overboard."

"I think the main function of contemporary irony is to protect thespeaker from being interpreted as naive or sentimental."

"A manual for how to build a mentally ill child."