Why do you do up your hair in those tortured plaits, now, Melanie? Why? Because, she said. You know that's no answer. You're spoiling your pretty looks, pet. Come here. She did not move. He ground out his cigarette on the window-ledge and laughed. Come here, he said again, softly. So she went.

His main principles were indeed as follows: everything it is possible to imagine can also exist.

There was a house we all had in common and it was called the past, even though we'd lived in different rooms.

Vengeful as nature herself, she loves her children only in order to devour them better and if she herself rips her own veils of self-deceit, Mother perceives in herself untold abysses of cruelty as subtle as it is refined.

He is the intermediary between us, his audience, the living, and they, the dolls, the undead, who cannot live at all and yet who mimic the living in every detail since, though they cannot speak or weep, still they project those signals of signification we instantly recognize as language.

What do you see when you see me?' She asked him, burying her own face in his bosom. 'Do you want the truth?' She nodded. 'The firing squad.' 'That's not the whole truth. Try again.' 'Insatiability,' he said with some bitterness. 'That's oblique but altogether too simple. Once more,' she insisted. 'One more time.' He was silent for several minutes. 'The map of a country in which I only exist by virtue of the extravagance of my metaphors.' 'Now you're being too sophisticated. And, besides, what metaphors do we have in common?

Sad; so sad, those smoky-rose, smoky-mauve evenings of late Autumn, sad enough to pierce the heart.