Quotes from Meg Wolitzer

In the past," a writer friend of Ethan's had recently said, over lots of beer, "everyone wanted to be novelists. And now they all want to be screenwriters. It's like screenplays are the same exact thing as novels, but easier to read and worth a lot more money.

The underaged had not been here before when Ethan was given his tour;

there are two aspects to feminism. The first is individualism, which is that I get to shape my own life. That I don't have to fit into a stereotype, doing what my mother tells me, conforming to someone else's idea of what a woman is. But there's a second aspect too, and here I want to use the old-fashioned word 'sisterhood,' which may make you groan a little and head for the exits in a stampede, but I'll just have to take that chance.

You needed to find a way to make your world dynamic, Greer knew. Sometimes you couldn't do it yourself. Someone had to see something in you and speak to you in a way that no one else ever had.

She had rarely called him honey, and he thought: This is weird. Honey was for a moment of extremeness. She had reached out from their usual vocabulary and into that of some other generation; the words that they usually used wouldn't do. Honey was weird, but it was a bridge across the terrifying open space between where they had been and where they now were. A honeyed bridge that would take them forward as best it could.

I am having a crisis, she thought. I suddenly feel a new fragile sense of myself in this world and it's unbearable.

That night the flame gave the women's faces in those close quarters the stuttering light-and-dark appearance of people in a Flemish painting, all eye-gleam and contrapuntal shadow and rose cheek and curved hand—if, in fact, the Flemish artists had ever painted groups of women together without men.