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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.
When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.
In the end, the tortures tearing the Lisbon girls pointed to a simple reasoned refusal to accept the world as it was handed down to them, so full of flaws.
Depression is like a bruise that never goes away. A bruise in your mind. You just got to be careful not to touch it where it hurts. It's always there, though.
In the end we had the pieces of the puzzle, but no matter how we put them together, gaps remained, oddly shaped emptinesses mapped by what surrounded them, like countries we couldn't name.
What are you doing here, honey? You're not even old enough to know how bad life gets." (...) "Obviously, Doctor," she said, "you've never been a thirteen-year-old girl.
What I do when I create a character is put in details from all the people I know who might be like that person, and then put in a huge amount of myself.
I have a lot of novels that I haven't finished. I usually get 150 pages in and I realize it's not going anywhere. I don't publish everything I write. I must have six unfinished novels at least.
I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974.
Pregnancy humbles husbands. After an initial rush of male pride they quickly recognise the minor role that nature had assigned them in the drama of reproduction.