I didn't even know what the feeling was, really, just that there was a lot of it.

What I love about the sculpture is that it makes the bones that we are always walking and playing on manifest, like in a world that so often denies the reality of death and the reality that we are surrounded by and outnumbered by the dead. Here, is a very playful way of acknowledging that and acknowledging that and that always, whenever we play, whenever we live, we are living in both literal and metaphorical ways on the memory and bones of the dead.

Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.

Whenever I'm asked what advice I have for young writers, I always say that the first thing is to read, and to read a lot. The second thing is to write. And the third thing, which I think is absolutely vital, is to tell stories and listen closely to the stories you're being told.

The job of reading is to use stories as a way into seeing other people as we see ourselves

We kiss. Her hands are freezing on my face, and she tastes like coffee and the smell of the onion is still stuck in my nose, and my lips are all dry from the endless winter. And it's awesome.

That deep, can-still-taste-her-in-my-mouth sleep.