To be fair to Monica," I said, "what you did to her wasn't very nice either." "What'd I do to her?" he asked, defensive. "You know, going blind and everything." "But that's not my fault," Isaac said. "I'm not saying it was your fault. I'm saying it wasn't nice.

Half-drunk on well-creamed gas station coffee and the exhilarating loneliness of a freeway in nighttime.

But there are a thousand ways to look at it: maybe the strings break, or maybe our ship s sink, or maybe we're grass--our roots so interdependent that no one is dead as long as someone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters.

But when it came right down to it, the skin of my wrist looked so white and defensless that I couldn't do it. It was as if what I wanted to kill wasn't in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get." I know what she's talking about. The something deeper and more secret. It's like cracks inside of you. Like there are these fault lines where things don't meet up right.

In general-like not just in fiction but in life-it doesn't work out well when someone imagines someone else as a manic pixie dream girl or an Edward Cullen or anything other than a full, complex human being. That said, while I've tried to reflect that in my books, I don't think I've always succeeded, because I am always running up against my own insufficiencies and biases etc.

Not that smart. Not that hot. Not that nice. Not that funny. That's me: I'm not that.

I didn't want to look at them, so I looked away, and to look away was to look at Augustus.