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Don't we all deserve forgiveness? I hope we do I believe we do. Forgiveness says as much about the character of the person bestowing it as the person receiving it. Learning to forgive may be the most difficult of human acts,and the closest thing to divinity, whatever you decide that is.

Justin Cronin

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Justin Cronin
Age: 62
Born: 1962
Born: January 1
Author
Novelist
Science Fiction Writer
University Teacher
Writer
Eastern States
Thing
Hope
Acts
Much
Difficult
Forgiveness
Believe
Character
Forgiving
May
Decide
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Persons
Deserve
Divinity
Person
Learning
Closest
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Receiving
Humans
Whatever
Forgive

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I grew up during the Cold War, when everything seemed very tenuous. For many years, right up until the fall of the Berlin Wall, I had vivid nightmares of nuclear apocalypse.
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I'm still an English professor at Rice University here in Houston. They've been very generous in letting me on a very long leash to just work on 'The Passage' and its sequels.
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It happened fast. Thirty-two minutes for one world to die, another to be born.
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And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
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If you write a good action sequence well in a novel, you're already writing it for film, because the only way to do it well is to use some of the same tricks. They're rhetorical, not visual, but it's the same move.
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If you are writing any book about the end of the world, what you are really writing about is what's worth saving about it.
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I saw my one purpose in that moment, looking into that little girls eyes. I was the one who was meant to save her, that was my one purpose all this time.
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One thing that worried me was how writers get categorized and so they end up having to write the same kind of book again and again. That is fine if it is what you want to do, but I would rather be locked in the trunk of my car with a weasel than write the same book every three years until I die.
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Choosing writing as a career, just by itself, is a measure of not being a calculating person.
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What strange places our lives can carry us to, what dark passages.
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When you write, you take the ball and you hold it up to the light and you turn it slowly, and let people draw their own conclusions. And try to bring empathy to all sides of the equation.
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I came to Houston for a job, the reason most people move halfway across the country with a first grader and a five-week-old. I came here to teach at Rice.
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The world was a world of dreaming souls who could not die.
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This ravishing world. This achingly bittersweet, ravishing world.
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Sara waited a respectful time, knowing there was nothing she could do to ease the woman's pain. Grief was a place, Sara understood, where a person went alone. It was like a room without doors, and what happened in that room, all the anger and the pain you felt, was meant to stay there, nobody's business but yours.
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I'm an ecumenical reader, grew up with all sorts of fiction, teach writing, went to the Iowa Writers' Workshop, so my tastes and interests are broad.
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Before she became the Girl from Nowhere-the One Who Walked In, the First and Last and Only, who lived a thousand years-she was just a little girl in Iowa, named Amy. Amy Harper Bellafonte.
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One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.
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It's different being afraid when there's the hope it will amount to something.
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Here she was, a women who could bolt-load a crossbow in under a second, put half a dozen long arrows in the air in fewer than five, blade a target dead through the sweet spot at six meters, on the run, on an off day and yet knitting a pair of baby booties seemed completely beyond her power.
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