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Those close to [Patricia Highsmith], particularly her family, often commented on how Highsmith's vision of reality was a warped one. In April 1947, she transcribed into her notebook what was, presumably, a real dialogue between herself and her mother, in which Mary accused her of not facing the world. Highsmith replied that she did indeed view the world 'sideways, but since the world faces reality sideways, sideways is the only way the world can be looked at in true perspective.' The problem, Highsmith said, was that her psychic optics were different to those around her, but if that was the case, her mother replied, then she should equip herself with a pair of new spectacles. Highsmith was not convinced. 'Then I need a new birth,' she concluded.

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I keep my kindness in my eyes Gently folded around my iris Like a velvety, brown blanket That warms my vision I keep my shyness in my hair Tucked away into a ponytail Looking for a chance to escape On a few loose strands in the air I keep my anger on my lips Just waiting to unleash into the world But trust me; it__ never in my heart It evaporates into words I keep my dignity upon my chin Like a torch held up high For those who have betrayed me Radiating a silent, strong message I keep my gratitude in my smileA glistening waterfall in the sun Gently splashing at that personWho made me happy for some reason I keep my sensitivity in my hands Reaching out for your wet cheek Holding you, with all the love The love I want to share, and feel I keep my passion in my writing My words breathing like fire Screeching against an endless road As I continue to be inspired I keep my simplicity in my soul Spread over me like a clear sky Reflecting all that I am And all that__ ever passed me by And I hope you will look Beyond my ordinary faceMy simple, tied hairMy ordinary tastes And I hope you will see me From everyone...apart As I keep my beauty in my heart.

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One day we took the children to see a goldsmith refine gold after the ancient manner of the East. He was sitting beside his little charcoal fire. ("He shall sit as a refiner"; the gold- or silversmith never leaves his crucible once it is on the fire.) In the red glow lay a common curved roof tile; another tile covered it like a lid. This was the crucible. In it was the medicine made of salt, tamarind fruit and burnt brick dust, and imbedded in it was the gold. The medicine does its appointed work on the gold, "then the fire eats it," and the goldsmith lifts the gold out with a pair of tongs, lets it cool, rubs it between his fingers, and if not satisfied puts it back again in fresh medicine. This time he blows the fire hotter than it was before, and each time he puts the gold into the crucible, the heat of the fire is increased; "it could not bear it so hot at first, but it can bear it now; what would have destroyed it then helps it now." "How do you know when the gold is purified?" we asked him, and he answered, "When I can see my face in it [the liquid gold in the crucible] then it is pure.