Everyone desires to laugh sometimes, and I want to make that available.
There has to be space for play in literature. We all need some breathing room.
It's a friendly act to write a lighthearted book.
There is a lot of contradictions of mermaids as a symbol. I'm always interested in contradictions.
The Free Body Culture gave me a gift I might never have received had I refused to play along. It left me with an acute sense of the absurd - one I still cherish - to be there among my fellow apes, awkward and less than half-willing, aiming and missing, leaping, landing and wincing.
I worry about the very pernicious way we elevate and separate ourselves from other beasts, the way we rationalize our comfort and ease, our worship of the self, as healthy. It's enticing, but with a terrible taint of evil.
We paint a slow picture. You can see the brushstrokes. We don't get to the point, and sometimes when we do, our readers don't notice, in fact. It's so couched in nuance, it can fly right over a person's head. 'What was that you said? I couldn't quite make it out.'
In Hiroshima, bombed Aug. 6, 1945, no warning was given of the air attack, and thus no escape was possible for the mostly women, children and old people who fell victim.
I had hoped that going to Hiroshima would reveal something small, gritty, and precise to countervail the epic quality of historical accounts.
The summer after I got divorced, my children asked to sleep in my bed again. It would be the first time we'd shared a bed since they were infants.
I have a king bed, one of those memory-foam mattresses that doesn't jiggle as you get in or out. Even if you cleaved it down the middle with a pickax, the thing wouldn't tremble. It's practically earthquake-proof.