"In the three boats story, a man is floating alone in an ocean without a life jacket when a boat passes by. "Get in. I'll save you," the boatman says. "Oh, no, it's fine," the floating man answers, "I'm putting my faith in the Lord." In time, two more boats come along, and to each rescuer the man - usually me, in Wade's telling - says, "No, no, I'm putting my faith in the Lord." Eventually, and it isn't very long in coming, the man drowns. Yet when he stands up to meet his Maker at the fated spot where some rejoice but many more cower, his Maker looks sternly down and says, "You're a fool. You're assigned to hell forever. Go there now." To which the drowned man says, "But your honor, I put my faith in you. You promised to save me." "Save you!?" fearsome God shouts from misty marmoreal heights. "Save you? Save you?" God thunders. "I sent you three boats!

You hear stories about people who've committed bad crimes. Suddenly they decide to confess it all, turn themselves in to the authorities, get everything off their conscience-the burden, the harm, the shame, the self-hatred. They make a clean breast of things before going off to jail. As if guilt was the worst thing in the world to them. I'm willing to say now that guilt has less to do with it than you might think. Rather, the intolerable problem is of everything suddenly being so confused: the clear path back to the past being cluttered and unfollowable; how the person once felt being now completely changed from how he feels today. And time itself: how the hours of the day and night advance so oddly-first fast, then hardly passing at all. Then the future becoming as confused and impenetrable as the past itself. What a person becomes in such a situation is paralyzed-caught in one long, sustained, intolerable present. Who wouldn't want to stop that-if he could? Make the present give way to almost any future at all. Who wouldn't admit everything just to gain release from the terrible present? I would. Only a saint wouldn't.

...if sportswriting teaches you anything, and there is much truth to it as well as plenty of lies, it is that for your life to be worth anything you must sooner or later face the possibility of terrible, searing regret. Though you must also manage to avoid it or your life will be ruined.

She looked at me and the expression on her face was an expression of dislike, one I hadn't seen before but knew right away. Later I would see it turned toward other people. But the first time was looking at me and was because she believed she'd done all she could that was correct and the best thing, and it had only gotten her stuck with me. And I couldn't do anything that mattered. Though if I could I would've had my father be there, or Warren Miller, or somebody who had the right words that would take the place of hers, anybody she could speak to without just hearing her own voice in a room and having to go about the trouble of pretending she did not feel absolutely alone.

If there's another thing that sportswriting teaches you, it is that there are no transcendent themes in life. In all cases things are here and they're over, and that has to be enough. The other view is a lie of literature and the liberal arts, which is why I did not succeed as a teacher, and another reason I put my novel away in the drawer and have not taken it out.

I don’t, after all, know what’s wrong with him, am not even certain anything is, or that wrong isn’t just a metaphor for something else, which may itself already be a metaphor. Though probably what’s amiss, if anything, is not much different from what’s indistinctly amiss with all of us at one time or another – we’re not happy, we don’t know why, and we drive ourselves loony trying to get better

For now let me say only this: if sportswriting teaches you anything, and there is much truth to it as well as plenty of lies, it is that for your life to be worth anything you must sooner or later face the possibility of terrible, searing regret. Though you must also manage to avoid it or your life will be ruined.

Plenty of times I've seen writers, famous novelists and essayists, even poets, with names you'd recognize and whose work I admire, drift through these offices on one high-priced assignment or other. I have seen the anxious, weaselly lonely looks in their eyes, seen them sit at the desk we give them in a far cubicle, put their feet up and start at once to talk in loud, jokey, bluff, inviting voices, trying like everything to feel like members of the staff, holding court, acting like good guys, ready to give advice or offer opinions on anything anybody wants to know. In other words, having the time of their lives.

And who could blame them? Writers — all writers — need to belong. Only for real writers, unfortunately, their club is a club with just one member.