On TV people look at your hair and then they look at your skin, and then they look at your clothes, and by the time they're listening to what you're saying, you're off the screen.

Sometimes I think the people to feel the saddest for are people who are unable to connect with the profound—people such as my boring brother-in-law, a hearty type so concerned with normality and fitting in that he eliminates any possibility of uniqueness for himself and his own personality. I wonder if some day, when he is older, he will wake up and the deeper part of him will realize that he has never allowed himself to truly exist, and he will cry with regret and shame and grief.

TV is all about hair. And then skin. And then clothing. And then it's about your voice. And finally the report, what you're actually saying. And 99 times out of 100, it never gets past the hair.

Once he entered my life, I promptly forgot all my years of putting on a brave face while browsing at bookstores until closing time, and of having one, two, three beers while watching crime shows and CNN. I completely forgot the hateful sensation of loneliness, like thirst and hunger together pressing on my stomach.

I didn't realize then that so much of being adult is reconciling ourselves with the awkwardness and strangeness of our own feelings. Youth is the time of life lived for some imaginary audience

Trevor realized that the odd thing about English is that no matter how much you screw sequences word up up, you understood, still, like Yoda, will be. Other languages don't work that way. French? Dieu! Misplace a single le or la and an idea vaporizes into a sonic puff. English is flexible: you can jam it into a Cuisinart for an hour, remove it, and meaning will still emerge.

What's a bar bill but a surtax on reality?