Elizabeth McCracken Quotes
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I sort of don't believe in closure. In the sense that it doesn't make me feel better to think that something is over.
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In 'Property,' none of the characters are based on any real people, but the house is very much the house that I moved into in Saratoga Springs, N.Y.
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Short fiction is like low relief. And if your story has no humor in it, then you're trying to look at something in the pitch dark. With the light of humor, it throws what you're writing into relief so that you can actually see it.
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In library science school, back in the years of glowing green non-graphical screens and protocols called Archie and Veronica, I wrote Internet documentation.
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I am not a therapy person, but I understand what therapy does. It's a way of translating dark thoughts into something manageable.
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In general, I think people are worried about saying the wrong thing to any grieving person. On a very basic level, I think they're frightened of touching off tears or sorrow, as though someone tearing up at the mention of unhappy news would be the mentioner's fault.
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It's hard to know which made me more aware of the impossibility of protecting children - having a child die or having had two live.
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Acknowledgment of grief - well, it makes feeling the grief easier, not harder.
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I have children, and this notion - that there might be a single book that introduces children to literature - terrifies me. But you could do worse than Mary Norton's 'The Borrowers.' I loved it as a kid, and my kids love it, too.
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I'm a higgledy-piggledy person in every way. On days that I work, I work for eight hours in a row, with my internet access entirely turned off, locked in my office.
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I used to be a writer with superstitions worthy of a professional baseball player: I needed a certain desk chair and a certain armchair and a certain desk arrangement, and I could only get really useful work done between 8 P.M. and 3 A.M. Then I started to move, and I couldn't bring my chairs with me.
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I'm astounded by people who can listen to music when they write. I can only assume that they have multi-track brains, while mine is decidedly single.
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There are two MFA programs here at the University of Texas, and I read on the jury of both of them. And it's amazing to me how many really talented young writers seem to fear humor.
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I wanted to acknowledge that life goes on but that death goes on, too. A person who is dead is a long, long story.
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My mother's family didn't speak much about Europe: My mother was born in 1935, and her new-world parents were the sort who didn't want to worry their children about the war.
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When it comes to other people's writing, my older influences are more powerful than more recent ones, partially because I'm now more worried that I'll suddenly accidentally steal something from another writer.
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Humor reminds you, when you're flattened by sorrow, that you're still human.
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You believe in God or statistics or the way your narrative differs from other people.
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Revising stuff lately, I was shocked to see how often my characters scratched their ankles, felt their feet, and touched their own ears.
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In the last century, I earned my living as a librarian, and I loved it. I'd have to take some classes to get up to speed with 21st-century librarianship.
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I like seeing my physical progress through a volume, particularly if it's a big book.
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I have a memory of my fourth-grade self wanting to be the first woman president of the United States, but I think that has a lot more to do with my love of world records and reference books than a love of serving my country.
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New Orleans is still the place where you find out that you have a doppelganger and feel lucky - but somehow unsurprised - to learn that his name is Mad Bottom.
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At my first library job, I worked with a woman named Sheila Brownstein, who was The Reader's Advisor. She was a short, bosomy Englishwoman who accosted people at the shelves and asked if they wanted advice on what to read, and if the answer was yes, she asked what writers they already loved and then suggested somebody new.