You're like this leopard who's pretending to be a house cat.

There’s something about her—Cassel, I have met many evil men and women in my life. I have made deals with them, drank with them. I have done things that I myself have difficulty reconciling—terrible things. But I have never known anyone like your mother. She is a person without limits—or if she has any, she hasn’t found them yet. She never needs to reconcile anything.

You okay?" Anton asks, looking at me like he's trying to figure out if I'm drunk. His plans depend on me. I look as blank as possible and hope that it freaks him out. No point in my being the only miserable one.

All friendships are negotiations of power.

We all wind up drawn to what we're afraid of, drawn to try to find a way to make ourselves safe from a thing by crawling inside of it, by loving it, by becoming it.

Mine. The language of love is like that, possessive. That should be the first warning that it's not going to encourage anyone's betterment.

The funny thing about good people—people like Daneca—is that they really honestly don’t get the impulse toward evil. They have an incredibly hard time reconciling with the idea that a person who makes them smile can still be capable of terrible things. Which is why, although she’s accusing me of being a murderer, she seems more annoyed than actually worried about getting murdered. Daneca seems to persist in a belief that if I would just listen and understand how bad my bad choices are, I’d stop making them.