I was woefully ignorant in the social graces. I was being raised, after all, by Pellinore Warthrop.

Perhaps that is our doom, our human curse, to never really know one another. We erect edifices in our minds about the flimsy framework of word and deed, mere totems of the true person, who, like the gods to whom the temples were built, remains hidden. We understand our own construct; we know our own theory; we love our own fabrication. Still . . . does the artifice of our affection make our love any less real?

We are very much like them: indiscriminate killers, ruled by drives little acknowledged and less understood, mindlessly territorial and murderously jealous - the only significant difference being that they have yet to master our expertise in hypocrisy, the gift of our superior intellect that enables us to slaughter one another in droves, more often than not under the auspices of an approving god!

And in more than half the pictures, she isn't looking at the camera; she's looking at him. Not the way I would look at Ben Parish, all squishy around the eyes. She looks at Evan fiercely, like, This here? It's mine

There are things that are too terrible to remember, and there are things that are almost too wonderful to recall.

You are the human clay," Vosch whispers fiercely in my ear. "And I am Michelangelo. I am the master builder, and you will be my masterpiece.

When the moment comes to stop running from your past, to turn around and face the thing you thought you could not face--the moment when your life teeters between giving up and getting up--when that moment comes, and it always comes, if you can't get up and you can't give up either, here's what you do: Crawl.