And then we were kissing. My hand let go of the oxygen cart and I reached up for his neck, and he pulled me up by my waist onto my tiptoes. As his parted lips met mine, I started to feel breathless in a new and fascinating way. The space around us evaporated, and for a weird moment I really liked my body, this cancer-ruined thing I'd spent years dragging around suddenly seemed worth the struggle, worth the chest tubes and PICC lines and the ceaseless bodily betrayal of the tumors.

She said, "It's not life or death, the labyrinth." "Um, okay. So what is it?" "Suffering," she said. "Doing wrong and having wrong things happen to you. That's the problem. Bolivar was talking about the pain, not about the living or dying. How do you get out of the labyrinth of suffering?... Nothing's wrong. But there's always suffering, Pudge. Homework or malaria or having a boyfriend who lives far away when there's a good-looking boy lying next to you. Suffering is universal. It's the one thing Buddhists, Christians, and Muslims are all worried about."

I believe in that line from An Imperial Affliction. 'The risen sun too bright in her losing eyes.' That's God, I think, the rising sun, and the light is too bright and her eyes are losing but they aren't lost.

I pulled the oxygen tubes from my nostrils and raised the tube up over my head, handing it to Dad. I wanted it to be just me and just him.

You either have a great social life and shitty taste in music, or a fantastic taste in music with barely any social life.

The thing about That Guy Is a Gigolo,' Radar says, 'I mean, the thing about it as a game, is that in the end it reveals a lot more about the person doing the imagining than it does about the person being imagined.

I'm sorry. I know you loved her. It was hard not to.