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In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

- Amity Gaige
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Amity Gaige
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As separate people, we are weak, but we could be a peaceful, powerful nation.

'Who's Afraid of Virginia Woolf?' is, to my mind, a work of perfect genius.

My personal writing philosophy is to try and write better every day.

It's dangerous to accept crisis as your baseline. It gets harder and harder to see the anti-crises that are so requisite to happiness: the quiet times, the crucial pauses - like those in a poem.

Nobody writes like Nabokov; nobody ever will. What I would give to write one sentence like Vladimir!

Parenthood is a psychic sweat lodge: enter into it only if you are ready to have your own secreted toxins running into your eyes. Few people are prepared for its power - women or men.

I think a writer is a describer. She describes society and human nature as she sees it. She has to be both typical of that society and alone within it.

To me, self-esteem is not self-love. It is self-acknowledgment, as in recognizing and accepting who you are.

Edan Lepucki sets her debut novel, 'California,' somewhere in the 2060s. The nearness of this era helps make her vision both more discomfiting and more credible.

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In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.