I saw the movie," he said. "I know what it's about. Listen to this. When girls get to be about twelve or so"—he leaned toward us—"their tits bleed.

We felt the imprisonment of being a girl, the way it made your mind active and dreamy, and how you ended up knowing which colors went together. We knew that the girls were our twins, that we all existed in space like animals with identical skins, and that they knew everything about us though we couldn’t fathom them at all. We knew, finally, that the girls were really women in disguise, that they understood love and even death, and that our job was merely to create the noise that seemed to fascinate them.

I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.

If you talk to geneticists they are constantly finding that your genes are being switched on and off because of the environment. Genes alone do not determine an exact path in your life.

It was always embarrassing when professors assigned their own books. Even Madeleine, who found all the reading hard going, could tell that Zipperstein’s contribution to the field was reformulative and second-tier.

The Pulitzer isn't a physical object. You can't hold it in your hand. You get some money ($7,500 in my day), and you get a little Tiffany's paperweight with your name on it and the image of Joseph Pulitzer suspended in the crystal. When people see my 'Pulitzer' (I keep it in my sock drawer), they are pretty amazed at its meagerness.