“Writers know all the good reasons for subjecting their work to a sharp trim. Early drafts are notorious for repetition, indirection and overdevelopment of the trivial.”

“Writers know all the good reasons for subjecting their work to a sharp trim. Early drafts are notorious for repetition, indirection and overdevelopment of the trivial.”

“Night is the worst time. After the long regimentation of the day, the enforced silences, the men want to talk. At first it doesn’t matter what about: TV, movies, travel, jobs. I lie on my side on my mattress as the words pool around me, reciting to myself the botanical classifications for peach, cherry, apple. Magnoliophyta, Magnoliopsida, Rosales, Rosaceae… I smell the smell of other bodies: stale skin, flatulence, cologne. I long to open the windows and let the fresh air sweep the smells away, sweep the bodies away too. Gradually one man drops out of the conversation, then another. Soon there will be only two men left speaking. And these two—they are not the same two every night—will drop their voices, speak in an intimate murmur. Perhaps they are only gossiping about one of the monks. Perhaps they are complaining about the food. But no, there is a reticence that lets me know that they are trying, clumsily, to reach each other.”

“In the spring and summer I watched my plants flower, but it was, perhaps, in winter that I loved them best, when their skeletons were exposed. Then I felt they had more to say to me, were not simply dressing themselves for the crowds. Stripped of their leaves, their identities showed forth stark, essential.”

“How naive Lore had been, despite being the daughter of a father no one spoke of, despite the strange, incomplete conversations at her mother’s deathbed; how again and again she was caught up short by the discovery that other people had stories they didn’t tell, or told stories that weren’t entirely true. How mostly you got odd chunks torn from the whole, impossible truly to understand in their damaged form.”