Books help us understand who we are and how we are to behave. They show us what community and friendship mean; they show us how to live and die. They are full of all the things that you don’t get in real life—wonderful, lyrical language, for instance, right off the bat. And quality of attention: we may notice amazing details during the course of a day but we rarely let ourselves stop and really pay attention. An author makes you notice, makes you pay attention, and this is a great gift. My gratitude for good writing is unbounded; I’m grateful for it the way I’m grateful for the ocean. Aren’t you? I ask.

I go back to trying to breathe, slowly and calmly, and I finally notice the one-inch picture frame that I put on my desk to remind me of short assignments.

It reminds me that all I have to do is to write down as much as I can see through a one-inch picture frame. This is all I have to bite off for the time being. All I am going to do right now, for example, is write that one paragraph that sets the story in my hometown, in the late fifties, when the trains were still running. I am going to paint a picture of it, in words, on my word processor. Or all I am going to do is to describe the main character the very first time we meet her, when she first walks out the front door and onto the porch. I am not even going to describe the expression on her face when she first notices the blind dog sitting behind the wheel of her car—just what can see through the one-inch picture frame, just one paragraph describing this woman, in the town where I grew up, the first time we encounter her.

E. L. Doctorow once said that "writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way." You don’t have to see where you’re going, you don’t have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you. This is right up there with the best advice about writing, or life, I have ever heard.

But something must be at stake or you will have no tension and your readers will not turn the pages. Think of a hockey player— there had better be a puck out there on the ice, or he is going to look pretty ridiculous.

My mother in bed at fifty-two. My mother in bed at sixty-eight. When I lay the two images of her side by side, looking for the differences, at first there seem to be few. She was older, thinner, more wrinkled. Her hair, late to gray, was now sprouting a few silver strands here and there. These differences were subtle but present. Harder to spot: me at eleven - out of my depth; me at twenty-eight - still so.

She places her hand on my fist. Her hand covers my fist. I let my hand fall open. She moves her hand down and crosses her wrist against mine and now I’m almost asleep. When and where were you happiest? My one remaining contact with wakefulness is the flat inside of her wrist resting on the flat inside of mine, as though each wrist were seeking the other’s pulse. I listen for the soft beat of blood through the skin. I listen as best as I can in the dimming stillness. I slow my breathing and soon I hear nothing.