Stacey D'Erasmo

Quotes by Stacey D'Erasmo

• If we are indeed nostalgic for the weight of clock time, it is worth remembering that the standardized time that most of us know has only been around since the mid-nineteenth century. It was invented for the railroads.

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• What interests me are the complexities and contradictions and struggles and joys of messy human beings.

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• The knot of intimacy at the center of 'Ten Thousand Saints' is the friendship between Teddy McNicholas and Jude Keffy-Horn.

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• In her previous novels, Maggie O'Farrell has often measured the distance between intimates and the unexpected intimacy of distance - geographic, temporal, cultural. In 'The Hand That First Held Mine' and 'The Distance Between Us,' characters separated by many miles or many years turn out to be joined in ways they never anticipated.

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• As lightly toned by reality as the women on 'Sex and the City,' the bold, soigne characters on 'The L Word' suggest that L is also for limerence, that rapturous state of early love when the entire world is glowing and delectable.

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• The railroads needed standardized time; as a result, the technology of train travel shaped the way everyone gets up, eats, goes to sleep, calculates age, and, perhaps of no small importance, imagine the world as a whole, ticking reliably, with reliable deviations, according to the beat of one central clock in a physical location.

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• Emotional grandeur, rendered in the vernacular, has been Mona Simpson's forte. In her novels, 'Anywhere but Here,' 'The Lost Father' and 'A Regular Guy,' Simpson wrote wide and long and high about the most profound human bonds: parents and children lost each other, found each other, lost each other again, but differently.

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• One of the many pleasures of 'Versailles' is the way in which it seems to emanate not only from the vexed inner being of Marie Antoinette but from the interstices between what we imagine of her and what she was.

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• Visibility is a tricky thing; is someone visible when you can point her out in a crowd, or when you understand what her life feels like to her?

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• The spirits of Havelock Ellis, Magnus Hirschfeld and Richard Freiherr von Krafft-Ebbing waft through the text to lend 'The Third Sex' an air of scientific authority.

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• The much-lauded visual artist Roni Horn got her Master's in Sculpture from Yale in the Seventies, but in the course of her career she has moved, among other media, from watercolors to photographs to floor-sized installations and mats of poured gold.

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• All writers are magpies, right? We're always stealing bits from different places and then weaving them into our little nest.

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• My books - I kid you not - are very often shelved between DeLillo and de Sade. Which not only completely cracks me up, but it seems like an encouraging message from the universe: between those two, there's a lot of wiggle room. I feel just fine there.

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• A lot of times, really wonderful things that have come my way have come basically out of the blue.

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• The songs in 'Wonderland' don't have a melodic life for me - I'm not a musical person - but they have an emotional life, an emotional echo perhaps.

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• The deeper changes wrought by the end of a particular outlaw culture: something will come of that ... and it won't be what we expect.

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• I never thought much about God, certainly never wondered whether God was thinking about me, until I fell in love with a Zen Buddhist priest.

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