In memoir, you have to be particularly careful not to alienate the reader by making the material seem too lived-in. It mustn't have too much of the smell of yourself, otherwise the reader will be unable to make it her own.

As writers go, I have a skin of average thickness. I am pleased by a good review, disappointed by a bad. None of it penetrates far enough to influence the thing I write next.

There is always shame in the creation of an expressive work, whether it's a book or a clay pot. Every artist worries about how they will be seen by others through their work. When you create, you aspire to do justice to yourself, to remake yourself, and there is always the fear that you will expose the very thing that you hoped to transform.

I have no sense of a model or predecessor when I write a memoir: For me, the form exists as a method of processing material that retains too many connections to life to be approached strictly and aesthetically. A memoir is a risk, a one-off, a bastard child.

It seems to me that 'women's writing' by nature would not seek equivalence in the male world. It would be a writing that sought to express a distinction, not deny it.

We who were born were not witnesses to our birth: like death, it is something we are forever after trying to catch sight of.