You can't not like "The Great Gatsby." It's got the best sentences in, like, ever.

As a child I was an inveterate liar. As opposed to now, I am a Novelist.

She spoke quietly then, the tiniest crack in her voice, and all at once Lacey Pemerton was not Lacey Pemberton. She was just—like, a person.

More than anything, I felt the unfairness of it, the inarguable injustice of loving someone who might have loved you back but can't due to deadness, and then I leaned forward, my forehead against the back of Takumi's headrest, and I cried, whimpering, and I didn't even feel sadness so much as pain.

I like the strings. I always have. Because that's how it feels. But the strings make pain seem more fatal than it is, I think. We're not as frail as the strings would make us believe. And I like the grass, too. The grass got me to you, helped me to imagine you as an actual person. But we're not different sprouts from the same plant. I can't be you. You can't be me. You can imagine another well – but never quite perfectly, you know?

I was thinking about this girl you love so much," she said, "And this place I love so much. And how that happens. How you can just fall into it.

Given the final futility of our struggle, is the fleeting jolt of meaning that art gives us valuable? Or is the only value in passing the time as comfortable as possible? What should a story seek to emulate, Augustus? A ringing alarm? A call to arms? A morphine drip? Of course, like all interrogation of the universe, this line of inquiry inevitably reduces us to asking what it means to be human and whether—to borrow a phrase from the angst-encumbered sixteeen-year-olds you no doubt revile—there is a point to it all.