Top 68 Quotes & Sayings by Heidi Julavits

I developed a crazy face rash after I got engaged to a guy I must have known somewhere I should not marry. I hadn't articulated this to myself, so my face told the world instead.

We're taught to find the antecedents to our adult failures in childhood traumas, and so we spend our lives looking bacwards and pointing fingers, rather than bucking up and forging ahead. But what if your childhood was all a big misunderstanding? An elaborate ruse? What does that say about failure? Better yet, what does that say about potential?

People don't hijack planes anymore because that old system of hijacking in order to barter for a prison release or get to a different country no longer works, exactly, because 9/11 recoded the hostage's interpretation of a hijack. If a hijacker isn't trying to use the plane as a missile, then he is in danger of being killed by the hostages. There is no minor terror threat anymore. No mid-level terrorism.

I think female-female relationships interest me so much more because they're so encoded. There is kind of a psychic element that happens within groups of women. Whenever I hang out with my female friends, I feel like context is never needed.

I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.

I wont deny that I have a far more productive writing life without the Internet, mostly because I rekindle my ability to concentrate on one thing for a period of longer than three minutes. My curiosity is channeled inward rather than Internet-ward.

I surround myself with women who inspire me to be more ambitious, and who constantly astonish me with their magnetism, style, and smarts.

I calmed myself by walking into my nearby bookstore and marveling at all the books other people had written. So many people had finished and published novels; it couldn’t be so hard, right?

Structure is, for me, the most fun challenge about writing novels.

I don't think fake people living in a fake house in a fake suburb are any less dismissible or believable than a fake psychic attending a fake school in a fake town. Nothing's inherently believable about any kind of fiction, because all of it's untrue.

I love this idea of the body as a trauma archive!

I think there’s a lot of threshold weeping. Like, am I doing this? Am I really wearing this out in the world? My daughter is very much like that. She will put clothes on and her clothes just make her beside herself. They make her so sad sometimes. And you do realize you feel betrayed sometimes by your own clothing. You put something on that usually protects you and makes you OK, and sometimes you’re just not fit for the world and even your best pants can’t overcome that feeling for you.

We want to believe we couldn't be replaced, and that the people we love are irreplaceable.

Sometimes it can be useful to read your bad reviews.

When my husband first read a draft, he said, "You spend too much time describing the characters' outfits." He was right. I removed much of the clothes talk, but quite a bit remained.

I spend far too much time on eBay buying lamps and upholstery remnants.

I wish somebody knew whether or not I'm Jewish.

As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.

When you are expending much energy on someone else's demise, it's like you weaken your psychic immune system.

I am simply looking for a companion with whom to spend my days, a companion who will cherish as much as I the stupidity of living in the moment, and spend every dull, amazing second with me.

I don't think women are, by definition, toxic to one another. I think women are simultaneously competitive toward and idolatrous of each other. I thrive on that challenge and that desire.

I needed to understand this random bad bit of luck as part of a bigger design. Otherwise I was suffering meaninglessly. This made the suffering a lot worse.

I can't even tell you what else I imagined. I can only humiliate myself to such a degree; at a certain point it becomes humorous, and this story is not meant to be humorous. This story is meant to winch your ribs open and tamper with your heart. This story is meant to make you realize that your chances of happiness in this world are terribly slim if you lack a fine imagination.

I think what can be most shameful or embarrassing is when our bodies broadcast a secret we'd prefer no one to know. This is why I hate rashes, in particular face rashes.

We're not saints, any of us. Maybe somebody is, but I don't know those people. But we all know people who behave very smugly and are very egotistical and put you down as a manner of improving their own place in the world or improving their own place in the world.

No matter what you wear, not everyone is going to understand what you're saying.

I have a daughter who, when younger, possessed no barrier between her emotional self and the outside world. Her emotional insides spilled out all over, and, especially when I was sleep-deprived and probably a little paranoid, this really threatened me. It was as if she were embodying and expressing the insecurities and freaked-outedness I never express, and which I've learned over the years to keep hidden.

A logic proof is: you get a starting point and an ending point, and you have to get there through all these different steps and tautologies. I approach novel writing that way. When I get to the end I have to go back and connect everything.

As a writer, you want to go somewhere else sometimes. You want to vary the terrain that you're exploring.

I used to have a really sharp memory. And its loss has proven destabilizing from an identity perspective.

I obviously read and adore traditional fiction. I teach traditional fiction; I also teach all kinds of not-so-traditional fiction.

Our cover has always been really important. For those of you who haven’t seen itCharles Burns, who is a graphic artist, does four portraits, so it’s split into quadrants and there’s four heads, basically—portraits of people. We’ve actually often thought and freaked out, what if something happened to Charles Burns? Because he’s so identified with the cover of our magazine, I don’t know what we would do if anything happened to Charles Burns.

I like playing with a popular cliché and making it my own by half-embracing it, half-disemboweling it.

I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.

I tell myself it's a virtue, my failure to sleep in my own house, or at all. I tell myself that I spend more hours than most people aware that I am alive, and that over a lifetime this adds up to more living, more aliveness. I am more alive than the rest of my family. Which is my greatest night fear. Which is why I hunt. I don't ever want to be more alive than they are.

Some people just make me feel mentally endangered. Whatever dark stuff is going on in their head, it's coming at me and I need to escape.

Maybe the body is taking responsibility where the mind is not. It's scrapbooking for us.

I always think it's useful to get an outside opinion.

If I can just stop being so stressed out, maybe my cancer will get better! This is far less scary than treating a disease of unknown etiology.

If, at some future point, my face collapses around my eyes, I'd probably do something about it. My eyes are where I live, and if people couldn't see them, no one would know me.

Whenever I hang out with my female friends, I feel like context is never needed. They can just say two words about something, it's like hearing the first two notes of a song and you can always identify the song. They can just say a word and I know exactly what they're talking about.

I've subsequently become conscious of MAKING MEMORIES. Which makes me sound like a scrapbooker.

My husband is always accusing me of being a context-free individual. He asks something and he has no idea where it came from or what it related to. I have to supply him with way more supplementary information than I ever have to supply my female friends.

The twisty nature of psychic attack - are you being attacked, or did you bring this attack on yourself? - speaks to me of an American cultural paradox we all grapple with. There's the rampant litigiousness of our society, and the desire to blame others for our misfortunes.

It's fascinating to imagine two successful writers in one house. But when you think about it, it isn't very unusual. In fact, so many writers have writer spouses.

I wouldn't be myself if I weren't always trying to be someone else. I only have so much time on this earth and I want to be as many people as possible.

Every once in a while when I get a migraine, I like to think, "Who hates me today?"

Whether I'm writing about plumbers or psychics or psychic plumbers, I want to find a creative space that imprisons me usefully, so I can deviate with purpose.

To believe you're being psychically attacked gives you an understanding of your illness that no Western doctor can provide; this can be reassuring when you've exhausted the Western doctor tool kit, and the doctors are sending you to acupuncturists for pain relief.

Home is the place where, when you go there, they have to take you in. In other words: Home has exceedingly low standards.

There are some writers who are done when they finish a draft because they've thought it through beforehand. Whereas I'll finish a first draft and I'm nowhere near done.

I'm at that age where I notice friends checking out my face and wondering, Has she been Botoxed? There's a new map there people that are trying to read. I think if I did get any kind of enhancement I would be very public about it. I don't want people wondering - I want them to know.

If I'd done the discovery before I wrote the book, then there would be nothing to discover. It would feel dutiful instead of exciting.

A white girl disappears from a white prep school in a white suburb. Nobody knows what happened to her. The overall whiteness of the world is threatened. This must be resolved by whatever means possible.

You should never read online comments if you want to keep thoughts above the belt.

You know you're screwed when a Western doctor recommends acupuncture.

Like Semmering Academy, the Grove School was a Gothic pile of bricks run by 1950s-era chalk drones, which maintained its cultural viability by perpetuating a weirdly seductive anxiety throughout its community. Mary herself was a victim of the seduction; despite the trying and repetitive emotional requirements of her job, she remained eternally fascinated by the wicker-thin girls and their wicker-thin mothers, all of them favoring dark wool skirts and macintoshes and unreadably far-away expressions; if she squinted, they could have emerged intact from any of the last seven decades.

I think the one reason that writers marry other writers - one of the reasons that I married another writer - was, I fell in love with that writer. But second of all, I had been married before and a source of marital strife was me needing to go away for a couple of weeks to write or it's Saturday and I think I just need to work today and not hang out with you.

I've always said that you were too smart to have a profession. Smart people are hopeless in the face of anything actual. They are terrible cooks. They cannot dress themselves. They are children who need guidance and protecting.

When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.