Jane Smiley

I say, when your hair turns gray and your children think they know who you are, do the thing that shakes up who you think you are, even who you had prided yourself on being. When all those around you say they simply don't recognize you any longer, that's the real compliment.

When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.

Not every novel that wants to be a tragedy gets to be one.

When I went to first grade and the other children said that their fathers were farmers, I simply didn't believe them. I agreed in order to be polite, but in my heart I knew that those men were impostors, as farmers and as fathers, too. In my youthful estimation, Laurence Cook defined both categories. To really believe that others even existed in either category was to break the First Commandment.

I was depressed, but that was a side issue. This was more like closing up shop, or, say, having a big garage sale, where you look at everything you've bought in your life, and you remember how much it meant to you, and now you just tag it for a quarter and watch 'em carry it off, and you don't care. That's more like how it was.

Somehow, knowing that Alzheimer's is coming mocks all one's aspirations - to tell stories, to think through certain issues as only a novel can do, to be recognised for one's accomplishments and hard work - in a way that old familiar death does not.

The novel as a form is usually seen to be moral if its readers consider freedom, individuality, democracy, privacy, social connection, tolerance and hope to be morally good, but it is not considered moral if the highest values of a society are adherence to rules and traditional mores, the maintenance of hierarchical relationships, and absolute ideas of right and wrong. Any society based on the latter will find novels inherently immoral and subversive.

Many people, myself among them, feel better at the mere sight of a book.

If to live is to progress, if you are lucky, from foolishness to wisdom, then to write novels is to broadcast the various stages of your foolishness.

A child who is protected from all controversial ideas is as vulnerable as a child who is protected from every germ. The infection, when it comes- and it will come- may overwhelm the system, be it the immune system or the belief system.

I learned why 'out riding alone' is an oxymoron: An equestrian is never alone, is always sensing the other being, the mysterious but also understandable living being that is the horse.

I readily admit it is easy to make of horses what we will. Silent, in some ways reserved, they allow us to train them, and to project our ideas upon them; to ride and drive them, and to make them symbolic, perhaps to a greater degree than any other species.

Literature - novels, plays, and poems - can have an uncanny dual life, where they simultaneously represent something eternal and something historical, and this is often how they are taught in school.

Write every day, just to keep in the habit, and remember that whatever you have written is neither as good nor as bad as you think it is. Just keep going, and tell yourself that you will fix it later.

A novelist has two lives-- a reading and writing life, and a lived life. he or she cannot be understood at all apart from this.

A reader's tastes are peculiar. Choosing books to read is like making your way down a remote and winding path. Your stops on that path are always idiosyncratic. One book leads to another and another the way one thought leads to another and another. My type of reader is the sort who burrows through the stacks in the bookstore or the library (or the Web site — stacks are stacks), yielding to impulse and instinct.