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Perhaps she drives men away. Perhaps, without even being able to help herself, she just puts men into her ill-tempered car and drives them off: to quarries, dumps, small anonymous bodies of water.

Lorrie Moore

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Lorrie Moore
Age: 67
Born: 1957
Born: January 13
Faculty Member
Novelist
Writer
Glens Falls
New York
Helping
Puts
Away
Ill
Body
Bodies
Dumps
Able
Car
Quarry
Without
Perhaps
Tempered
Even
Small
Anonymous
Men
Help
Dump
Water
Drives

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She smiled at him, with longing. 'Where do you live,' she asked, 'and how do I get there?
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An author's life is different, complex, and ongoing, while a character's remains frozen in one little story.
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I just don't want you to feel uncomfortable about this, he says. Say: Hey. I am a very cool person. I am tough. Show him your bicep.
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Love is art, not truth. It’s like painting scenery.
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When she packed up to leave, she knew that she was saying goodbye to something important, which was not that bad, in a way, because it meant that at least you had said hello to it to begin with.
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You chose love like a belief, a faith, a place, a box for one's heart to knock against like a spook in the house.
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You know, as fiction writers, if our instincts are off, we can't pay our bills.
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But family life sometimes had a vortex, like weather. It could be like a tornado in a quiet zigzag: get close enough and you might see within it a spinning eighteen-wheeler and a woman.
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Love is the answer, said the songs, and that's OK. It was OK, I supposed, as an answer. But no more than that. It was not a solution it wasn't really even an answer, just a reply.
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This lunge at moral fastidiousness was something she'd noticed a lot in people around here. They were not good people. They were not kind. But they recycled their newspapers!
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If prose can cast a spell, we will listen to it no matter what it's saying. If a narrative uses language in a magical and enlivening way, we will listen to the story. But if the language doesn't cast a spell, we will listen to it only if it is telling us something that actually happened.
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Twenty-year-olds have a kind of emotional idealism about relationships and about the world that enables them to say, 'No, you lied to me. Goodbye.' When they see wickedness, they walk away.
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Rather than a teaching tool, I think a novel is more of a witnessing entity. A witnessing entity? What is that? I just want the reader to step in and experience it as a story.
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I want to pretend there's such a thing as requited love. As the endurance of love.
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I don't care if I'm a fish, I still want a bicycle.
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I do have people in mind when I write. I don't know precisely who they are, however, or how many of them there are.
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