I think this is how life is. It's not a linear march through time; you revolve around the same old things as you age and acquire experiences.
Women writers are often conflated with their narrators - as if we can't consciously construct fictional worlds from the ground up and can only write diary entries.
An erratum is a correction inserted into a book after publication. It's a nice thing to collect because you can't go after them, you just come upon them. In 25 years I've only found about 12.
I am a big fan of work in any medium that can take on death - being dead, being a soul - in a new way.
I'm not a cinephile. My films don't reference films. I'm more interested in rhythm and feeling.
My love for my son just destroys me. I can barely even talk about it.
I know I'm going to lose a lot of readers over this, and I don't care: 'Garfield' is overrated. I have always felt this, even as a child. That dumb man and his dumb, mean cat have gotten more of our attention than they deserve.
I've been using the same 'I Ching' since I was teenager when it was given to me by a fellow teenager; it seems too late to change now. I don't use it often, but when I do, it really does help. You can fool yourself, but not the 'I Ching.'
I eat an egg every morning, and when I'm done, I almost always have the thought: 'There. Now even if I'm captured and starved, I'll be able to live off the protein of that egg for a while.'
Each couple's version of intimacy is so fascinating to me. A friend will tell me about her marriage, and I'll think, 'Yikes, they have horrible communication! They're going to get divorced!' And then I'll hear about them at another time and think, 'Wow, they love each other so much!'
I'm quite a cerebral person. Often I feel quite stuck in that.
When I was very little, I probably wanted to be more normal. I probably wanted the Laura Ashley bedroom, and instead I got thrift-store everything.
I actually don't have a great surplus of ideas. Some evolve very slowly, over many years, but I sort of trust that all of the interesting ones will become something that I eventually end up doing.
My earliest memory is aged three, seeing sunlight on water and feeling it was really magical.
I have female friends who work in all different mediums who I speak to at least once a week. It helps me so much to know that I'm not alone. I think that's the bare minimum you need to sustain yourself - some sort of context of other women making things.
The moment I feel pressure to read a book, I instinctively rebel against it - which is probably one reason I didn't last long in college.
I'm often drawn in by a description of a woman thinking something familiar that's never been articulated before, as in Diane Cook's 'Somebody's Baby' or Nina Berberova's 'The Tattered Cloak.'
I didn't have any vices before the Internet. There are a lot of cracks in the day, moments where you don't know what to do next, so you have a little hole where you look at your phone. You want something that will mean you're not alone in that moment.
There's no law against asking strangers about their lives and feelings, although sometimes it really feels like there is.
Louise Bonnet is a Los Angeles-based painter of round, fleshy, almost obscene shapes and people. But hers is a very clean, friendly cartoon world, so there's this tension between harmlessness and perversion that is totally unsettling.
