Pain Is The Biggest Power Of Love.

These Self-appointed Deacons In The Church Of Latter-day American Literature Seem To Regard Generosity (of Words) With Suspicion, Texture With Dislike, And Any Broad Literary Stroke With Outright Hate. The Result Is A Strange And Arid Literary Climate Where A Meaningless Little Fingernail Paring Like Nicholson Baker's Vox Becomes An Object Of Fascinated Debate And Dissection, And A Truly Ambitious American Novel Like Matthew's Heart Of The Country Is All But Ignored.

We All Do What We Can, And It Has To Be Good Enough, And If It Isn't Good Enough, It Has To Do.

It Was Not Fair, It Was Not Fair, It Was Not Fair. So Cried His Child's Heart, And Then His Child's Heart Died A Little. For That Is Also The Way Of The World.

Life Was A Wheel, Its Only Job Was To Turn, And It Always Came Back To Where It Started.

For A Moment Everything Was Clear, And When That Happens You See That The World Is Barely There At All. Don't We All Secretly Know This? It's A Perfectly Balanced Mechanism Of Shouts And Echoes Pretending To Be Wheels And Cogs, A Dreamclock Chiming Beneath A Mystery-glass We Call Life. Behind It? Below It And Around It? Chaos, Storms. Men With Hammers, Men With Knives, Men With Guns. Women Who Twist What They Cannot Dominate And Belittle What They Cannot Understand. A Universe Of Horror And Loss Surrounding A Single Lighted Stage Where Mortals Dance In Defiance Of The Dark.