There were times . . . when it occurred to me that I was repeating my mother's life. Usually this thought struck me as funny. But if I happened to be tired, or if there were extra bills to pay and no money to pay them with, it seemed awful. I'd think 'This isn't the way our lives are supposed to be going.' Then I'd think 'Half the world has the same idea.
About halfway through I broke down crying, which I hadn't expected. I was a little ashamed, but only a little;it was her, you see, and she never taxed me with the times that I slipped from the way I thought a man should be...the way I thought I should be, at any rate. A man with a good wife is the luckiest of God's creatures, and one without must be among the most miserable, I think, the only true blessing of their lives that they don't know how poorly off they are.
For," I said, "a murdered man or woman dies not in God's time, but in Man's. He... or she... is cut short before he... or she... can atone for sin, and so all errors must be forgiven. When you think of it that way, all murderers are a gateway for heaven.
It's the pool where we all go down to drink, to swim, to catch a little fish from the edge of the shore; it's also the pool where some hardy souls go out in their flimsy wooden boats after the big ones. It is the pool of life, the cup of imagination, and she has an idea that different people see different versions of it, but with two things ever in common: it's always about a mile deep in the Fairy Forest, and it's always sad. Because imagination isn't the only thing this place is about.
...belief has a second edge. If there are ten thousand medieval peasants who create vampires by believing them real, there may be one - probably a child - who will imagine the stake necessary to kill it. But a stake is only stupid wood; the mind is the mallet which drives it home.
Part of my function as a writer is to dream awake. And that usually happens. If I sit down to write in the morning, in the beginning of that writing session and the ending of that session, I'm aware that I'm writing. I'm aware of my surroundings. It's like shallow sleep on both ends, when you go to bed and when you wake up. But in the middle, the world is gone and I'm able to see better.
In a brilliant fusion of fact and fiction, Jayne Anne Phillips has written the novel of the year. It's the story of a serial killer's crimes and capture, yes, but it's also a compulsively readable story of how one brave woman faces up to acts of terrible violence in order to create something good and strong in the aftermath. Quiet Dell will be compared to In Cold Blood, but Phillips offers something Capote could not: a heroine who lights up the dark places and gives us hope in our humanity.
And if there are no cars or planes, and if no one’s Uncle John is out in the wood lot west of town banging away at a quail or pheasant; if the only sound is the slow beat of your own heart, you can hear another sound, and that is the sound of life winding down to its cyclic close, waiting for the first winter snow to perform last rites.
Too often, in novels that are speculative, God is a kind of kryptonite, and that's about all that it is, and it goes back to Dracula, where someone dumps a crucifix in Count Dracula's face, and he pulls away and runs back into his house. That's not religion. That's some kind of juju, like a talisman.
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