I was thinking how amazing it was that the world contained so many lives. Out in these streets people were embroiled in a thousand different matters, money problems, love problems, school problems. People were falling in love, getting married, going to drug rehab, learning how to ice-skate, getting bifocals, studying for exams, trying on clothes, getting their hair-cut and getting born. And in some houses people were getting old and sick and were dying, leaving others to grieve. It was happening all the time, unnoticed, and it was the thing that really mattered.
It didn't matter in the end how old they had been, or that they were girls, but only that we had loved them, and that they hadn't heard us calling, still do not hear us, up here in the tree house with our thinning hair and soft bellies, calling them out of those rooms where they went to be alone for all time, alone in suicide, which is deeper than death, and where we will never find the pieces to put them back together.
On the morning the last Lisbon daughter took her turn at suicide- it was Mary this time, and sleeping pills, like Therese- the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope.
And in some of the houses, people were getting old and sick and were dying, leaving others to grieve. It was happening all the time, unnoticed, and it was the thing that really mattered. What really mattered in life, what gave it weight, was death.
My house fly theory is related to my theory about why time seems to go faster as you get older." "Why's that?" the girl asked. "It's proportional," Leonard explained. "When you're five, you've only been alive a couple thousand days. But by the time you're fifty, you've lived around twenty thousand days. So a day when you're five seems longer because it's a greater percentage of the whole.
But that was in the days when they expected perils to come from without, and nothing made less sense by that time than a survival room buried in a house itself becoming one big coffin.
I have a very beautiful room in my house... 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'm too distracted by things going on, so I end up writing in a not-very-nice office bedroom.
If you grew up in a house where you weren't loved, you didn't know there was an alternative.
If I write a character, instead of looking from the outside, like maybe a journalist would, trying to describe them physically and figuring out what kind of things they might be interested in or have in their house, I don't really do it that way. I try to feel what it would be like to be inside this person, to be them.
I have a good memory for early life. My visual memory is good about childhood and adolescence, and less good in the last 10 years. I could probably tell you less what happened in the last 10 years. I remember what houses looked like, sometimes they just pop into my head.
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