We have begun to slam doors, and to throw things. I throw my purse, an ashtray, a package of chocolate chips, which breaks on impact. We are picking up chocolate chips for days. Jon throws a glass of milk, the milk, not the glass: he knows his own strength, as I do not. He throws a box of Cheerios, unopened. The things I throw miss, although they are worse things. The things he throws hit, but are harmless. I begin to see how the line is crossed, between histrionics and murder.

This is what I miss, Cordelia: not something that’s gone, but something that will never happen. Two old women giggling over their tea.

Time folds you in its arms and gives you one last kiss, and then it flattens you out and folds you up and tucks you away until it's time for you to become someone else's past time, and then time folds again.

The road to death is a lonely highway, and longer than it apears, even when it leads straight down from the scaffold, by way of a rope; and it's a dark road, with never any moon shining on it, to light your way.

at last you, will say (maybe without speaking) (there are mountains inside your skull garden and chaos, ocean and hurricane; certain corners of rooms, portraits of great-grandmothers, curtains of a particular shade; your deserts; your private dinosaurs; the first woman) all i need to know: tell me everything just as it was from the beginning.

Romance takes place in the middle distance. Romance is looking in at yourself through a window clouded with dew. Romance means leaving things out: where life grunts and shuffles, romance only sighs.

That is what you have to do before you kill, I thought. You have to create an it, where none was before.