I'm the final clause in a periodic sentence, and that sentence begins a long time ago, in another language, and you to read it from the beginning to get to the end, which is my arrival.

When I'm creating a character, it's a little bit like what my theater teachers used to tell me about Stanislavsky, like if you're using sense memory to do a scene - if you have to cry in a scene, you try to remember something in your life that made you cry and you use that in order to get the tears.

There is a small window of opportunity for freckled girls to tan.

I hadn't gotten old enough yet to realize that living sends a person not into the future but back into the past, to childhood and before birth, finally, to commune with the dead. You get older, you puff on the stairs, you enter the body of your father. From there it's only a quick jump to your grandparents, and then before you know it you're time traveling. In this life we grow backwards.

That was the deal basically: catatonia without; frenzy within

It was the combination of many factors... With most people, suicide is like Russian roulette. Only one chamber has a bullet. With the Lisbon girls, the gun was loaded. A bullet for family abuse. A bullet for genetic predisposition. A bullet for historical malaise. A bullet for inevitable momentum. The other two bullets are impossible to name, but that doesn't mean the chambers were empty.

Normality wasn't normal. It couldn't be. If normality were normal, everybody could leave it alone. They could sit back and let normality manifest itself.