“If you're going to write about someone's life, you don't just use them for wallpaper. You have to honor and respect that life.”

“If you're going to write about someone's life, you don't just use them for wallpaper. You have to honor and respect that life.”

“If you're going to write about someone's life, you don't just use them for wallpaper. You have to honor and respect that life.”

“If it had been a heart attack, the new”

“By the time I'm nine I know the world is a dangerous place.  I've heard whispers about razorblades in apples, about Charlie Manson and his family.  But no one is offering any clear information.”

“If it had been a heart attack, the newspaper,as if a mountain range had openedinside her, but instead, a light coming onin an empty room. The telephonefell from my shoulder, a black parrot repeatinga sunday, dusky. If it had been, we could have cradled heras she grew smaller, wiped her mouth,,how overnight we could be orphaned& the world became a bell we'd crawl inside& the ringing all we'd eat.”

“I know cigarettes can kill & wonder why she wants to die.”

“OUT of that moment Jesus was nailed to his cross flowed our attempts to represent it, to create a narrative that could contain it. Yet the body, hanging there, is still, simply, terrible. Caravaggio’s genius was to paint Jesus with dirty feet, to bring him back down to earth.”

“It’s the way I walk through the world, carrying that fear, that the beloved will go, will die, and that I will be the one to blame.”

“What I was trying to say, maybe, is that I don't know what it is I'm capable of transforming into.”

“I’ve come to believe that the function of torture in our society is not about getting information, in spite of what we might want to believe. It is merely about power. It tells the world that there is now no limit to what we will do when we feel threatened.”

“(2002) In Rome, month upon month, I struggled with how to structure the book about my father (He already had the water, he just had to discover jars). At one point I laid each chapter out on the terrazzo floor, eighty-three in all, arranged them like the map of an imaginary city. Some of the piles of paper, I imagined, were freestanding buildings, some were clustered into neighborhoods, and some were open space. On the outskirts, of course, were the tenements--abandoned, ramshackled. The spaces between the piles were the roads, the alleyways, the footpaths, the rivers. The bridges to other neighborhoods, the bridges out...In this way I could get a sense if one could find their way through the book, if the map I was creating made sense, if it was a place one would want to spend some time in. If one could wander there, if one could get lost.”