Jeffrey Eugenides

“I have a very beautiful room that in my house that we bought in Princeton. It's glass on three sides, and you'd think that's the perfect place to write. Somehow in that nice room I feel too exposed, and I can notice I'm too distracted by things going on, so I end up writing in a not-very-nice office bedroom.”

“A love story can never be about full possession. The happy marriage, the requited love, the desire that never dims--these are lucky eventualites but they aren't love stories. Love stories depend on disappointment, on unequal births and feuding families, on matrimonial boredom and at least one cold heart. Love stories, nearly without exception, give love a bad name.We value love not because it's stronger than death but because it's weaker. Say what you want about love: death will finish it. You will not go on loving in the grave, not in any physical way that will at all resemble love as we know it on earth. The perishable nature of love is what gives love its importance in our lives. If it were endless, if it were on tap, love wouldn't hit us the way it does.And we certainly wouldn't write about it.”

“The girls took into their own hands decisions better left to God. They became too powerful to live among us, too self-concerned, too visionary, too blind.”

“At the same time, it's a family story and more of an epic. I needed the third-person. I tried to give a sense that Cal, in writing his story, is perhaps inventing his past as much as recalling it.”

“The Pulitzer Prize is an idea; it's a vote of confidence. Like literature, it exists purely in the mind.”

“Virgin suicideWhat was that she cried?No use in stayin'On this holocaust rideShe gave me her cherryShe's my virgin suicide”

“We're all well-acquainted with depression, we all know what the low moods are, but the mania was not something I knew much about. I didn't know that it would make someone dress extravagantly or start to pun, and to stay up and drink.”

“When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.”

“At that moment Mr. Lisbon had the feeling that he didn't know who she was, that children were only strangers you agreed to live with, and he reached out in order to meet her for the first time.”

“I was directed because I knew I wanted to be a novelist, but I didn't have a very good job or a way of getting published. I found those years to be among the most difficult of my life.”

“I studied English literature in the honors program, which means that you had to take courses in various centuries. You had to start with Old English, Middle English, and work your way toward the modern. I figured if I did that it would force me to read some of the things I might not read on my own.”

“Depression is like a bruise that never goes away. A bruise in your mind. You just got to be careful not to touch it where it hurts. It's always there, though.”

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever.”

“Historical fact: People stopped being people in 1913. That was the year Henry Ford put his cars on rollers and made his workers adopt the speed of the assembly line. At first, workers rebelled. They quit in droves, unable to accustom their bodies to the new pace of the age. Since then, however, the adaptation has been passed down: we've all inherited it to some degree, so that we plug right into joy-sticks and remotes, to repetitive motions of a hundred kinds.”

“Wouldn't it be nice to be done with it? To be done with sex and longing? Mitchell could almost imagine pulling it off, sitting on a bridge at night with the Seine flowing by. He looked up at all the lighted windows along the river's arc. He thought of all the people going to sleep or reading or listening to music, all the lives contained by a great city like this, and, floating up in his mind, rising just above the rooftops, he tried to feel, to vibrate among, all those million tremulous souls. He was sick of craving, of wanting, of hoping, of losing.”

“Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men.”

“I think it is important to remind people of the extent of our free will.”

“If you talk to geneticists they are constantly finding that your genes are being switched on and off because of the environment. Genes alone do not determine an exact path in your life.”

“I spend most of every day writing. I like to write every day if I can. I don't start extremely early.”

“I mean, in the end it wasn't up to me. The big things never are. Birth, I mean, and death. And love. And what love bequeaths to use before we're born.”