I can't remember coming across a more precise evocation of innocence lost since Golding's The Lord of the Flies. With The Death of Sweet Mister, Daniel Woodrell has written his masterpiece-spare, dark, and incandescently beautiful. It broke my heart.

Chuck said, “Hey. How many surrealists does it take to screw in a lightbulb?” Cawley looked over at him. “I’ll bite. How many?” “Fish,” Chuck said and let loose a bright bark of a laugh.

Your first family is your blood family and you always be true to that. That means something. But there's another family and that's the kind you go out and find. Maybe even by accident sometimes. And they're as much blood as your first family. Maybe more so, because they don't have to look out for you and they don't have to love you. They choose to.

I have a lot of rage about things that didn't happen to me, tied up with watching an immigrant, working-class father struggle to make his way through the world - and seeing how society was modeled to keep him in his place.

I normally can't stand vice-free people. They conflate a narcissistic instinct for self-preservation with moral superiority. Plus, they suck the life right out of a party.

And often the worst thing wasn't the victims--they were dead, after all, and beyond any more pain. The worst thing was those who loved them and survived them. Often the walking dead from now on, shell-shocked, hearts ruptured, stumbling through the remainder of their lives without anything left inside of them but blood and organs, impervious to pain, having learned nothing except that the worst things did, in fact, sometimes happen. (Mystic River)

How am I supposed to let you go, that's all I'm asking. I want to hold you again, smell you, and, yes too, I just want you to fade. To please, please fade.