In my own work, humor is necessary, for the reasons stated above, but also because forbidding your characters silliness, absurdity, irony, and vulgarity forbids them aspects of the human experience every bit as universal as sorrow.

We all know to feel sympathy for those who've suffered from drug addiction, child abuse, and terminal illness, so the set up elicits an emotional response that the story itself very well may not earn. Energy generated by the fiction itself is likely to produce more light.

From personal experience, I completely agree that it is often easier to go for monotone sadness. When I was starting out, I wrote a gazillion short stories that ran the gamut of human suffering - drug addiction, child abuse, terminal illness, loved ones dying by all manner of misfortune, etc. In hindsight, it's clear that I mistook the power of the situation for the power of the story.

Invader and invaded held on to their fistfuls of earth, but in the end, the earth outlived the hands that held it.

You are mine. I recognize you. We twist our souls around each other's miseries. It is that which makes us family.

But there had to be a quota. An upper limit to the number of miracles one is privileged to in a lifetime. How many times can a beloved reappear?

Sometimes it bursts from your imagination fully formed, sometimes you absorb from nonfiction, sometimes you're able to imprint your own autobiographical experiences on a world you never yourself were a part of. A decent number of the one-liners in the title story originally came up in conversations with my girlfriend or my neighbor.