our job was merely to create the noise that seemed to fascinate them.

For the eternity that Lux Lisbon looked at him, Trip Fontaine looked back, and the love he felt at that moment, truer than all subsequent loves because it never had to survive real life, still plagued him, even now in the desert, with his looks and health wasted. 'You never know what'll set the memory off,' he told us. 'A baby's face. A bell on a cat's collar. Anything.' They didn't exchange a single word. But in the weeks that followed, Trip spent his days wandering the halls, hoping for Lux to appear, the most naked person with clothes on he had ever seen.

They made us participate in their own madness, because we couldn't help but retrace their steps, rethink their thoughts, and see that none of them led to us.

This can't be true but I remember it.

It took courage to let things fall apart so beautifully.

Historical fact: People stopped being people in 1913. That was the year Henry Ford put his cars on rollers and made his workers adopt the speed of the assembly line. At first, workers rebelled. They quit in droves, unable to accustom their bodies to the new pace of the age. Since then, however, the adaptation has been passed down: we've all inherited it to some degree, so that we plug right into joy-sticks and remotes, to repetitive motions of a hundred kinds.

I'm constantly having doubts and moments of depression and then excitement and then back into the slough of despond.