Susanna Moore Quotes

Young writers reasonably say, 'I don't know what to write about,' so writing about yourself is a very literal way to begin.

Transgressive to me means breaking the rules and sinning. I don't see myself as breaking the rules and sinning. I'm really interested in what it means to be female.

I have to admit that I was very happy to finish 'In the Cut,' and happy not to return to it.

The world of womens' prisons is indeed a microcosm.

The task of understanding the past is neverending.

As a girl, I sat awestruck at the feet of Harriet Ne, author of 'Tales of Molokai'. It was she who used to say, 'I myself have seen it,' after telling a particularly hair-raising ghost story - a phrase that I borrowed for one of my titles.

While I was writing 'The Big Girls,' I had to take a big breath each morning and calm myself sufficiently to once again enter that world. But friends tell me that it is the only thing that really interests me. They say that I like to be upset.

I think memories are like dreams. Not reliable proof of anything. I can't prove a memory any more than I can prove a dream.

When I was nine, I was taught to ride a surfboard in Waikiki by the beach boy Rabbit Kekai.

The history of Hawaii may be seen as a story of arrivals.

When I was 23, I went to work for Jack Nicholson reading scripts. Later, I was married to a production designer named Richard Sylbert. So I lived in Los Angeles for ten years.

Each year, I await with dread the federal government's catalog of endangered and threatened species in the Hawaiian Islands, where I was raised and where I live.

'The Big Girls' has always seemed to me to be a story about different kinds of families - a divorced mother with a child; a father with his child and his girlfriend; a mother of three children, suffering from postpartum depression; and the rigid artificial families maintained by women in prison - all potentially perilous.

The point always is to be writing something - it leads to more writing.

People will be able to survive, of course, without honeycreepers and monk seals. But if the wolf spider is in trouble, we are in trouble, too.

'Calcutta is a pot of honey' means that in the first half of the nineteenth century, before the society became truly Victorian in feeling and tone, Bengal was a place to make money. The governor-generals returned to England rich men. It was a bountiful, lush, prosperous, easy place to make a fortune - in coal, in jute, and particularly cloth.

The belief that love is a finite essence that will eventually run out holds a certain logic for me even now, even if I am supposed to know better.

I lived in Calcutta for five months in 1999. While I was there, I read many journals, diaries, collections of letters and histories.

The chance of any species reaching and then surviving on an island as distant as one of the Hawaiian chain is infinitesimal, but despite the extraordinary odds, plants and seeds found their way ashore, carried by the tide or blown by trade winds, inside birds or in their feathers, in the branches of trees and in the jetsam of sunken ships.

It is possible to say that all of my books concern themselves with the notion of what it means to be female - whether it is in New York City in 2000 or Calcutta in 1836. In that way, my books really are the same.