I want to take back the secrets I told you so I can decide now whether to tell them to you again. I want to take back the piece of me that lies in you, to see if I truly miss it. I want to take back at least half the “I love you”s, because it feels safer that way.

I am constantly torn between killing myself and killing everyone around me.

As if when someone close to us dies, we momentarily trade places with them, in the moment right before. And as we get over it, we’re really living their life in reverse, from death to life, from sickness to health.

Things are going so well. We’re volleying words back and forth. Everything she says, I have something I can say back. We’re sparking, and part of me just wants to sit back and watch. We’re clicking. Not because a part of me is fitting into a part of her. But because our words are clicking into each other to form sentences and our sentences are clicking into each other to form dialogue and our dialogue is clicking together to form this scene from this ongoing movie that’s as comfortable as it is unrehearsed.

If goodness can't come from bad things, it makes bad things unbearable.

Why is it so much easier to talk to a stranger? why do we feel we need to disconnect in order to connect? If I wrote "Dear Sofia" or "Dear Boomer" or "Dear Lily's Great-Aunt" at the top of this postcard, wouldn't that change the words that followed? Of course it would. But the question is: When I wrote "Dear Lily," was that just a version of "Dear Myself"? I know it was more than that. But it was also less than that, too

I hope that George doesn't internalize her scare tactics. I want to argue with her, tell her that "sins of the flesh" is just a control mechanism -- if you demonize a person's pleasure, then you can control his or her life. I can't say how many times this tool has been wielded against me, in a variety of forms. But I see no sin in a kiss. I only see sin in the condemnation.