The diseased, anyway, are more interesting than the healthy. The words of the diseased, even those who can manage only a murmur, carry more weight than those of the healthy. Then, too, all healthy people will in the future know disease. That sense of time, ah, the diseased man’s sense of time, what treasure hidden in a desert cave. Then, too the diseased truly bite, whereas the healthy pretend to bite but really only snap at the air. Then, too, then, too, then, too.

Jesus is the masterpiece. The thieves are minor works. Why are they there? Not to frame the crucifixion, as some innocent souls believe, but to hide it.

The pain, or the memory of pain, that here was literally sucked away by something nameless until only a void was left. The knowledge that this question was possible: pain that turns finally into emptiness. The knowledge that the same equation applied to everything, more or less.

But every single damn thing matters! Only we don't realize. We just tell ourselves that art runs on one track and life, our lives, on another, and we don't realize that's a lie.

The secret story is the one we'll never know, although we're living it from day to day, thinking we're alive, thinking we've got it all under control and the stuff we overlook doesn't matter.

You run risks. That's the plain truth. You run risks and, even in the most unlikely places, you are subject to destiny's whims.

Literature is a vast forest and the masterpieces are the lakes, the towering trees or strange trees, the lovely, eloquent flowers, the hidden caves, but a forest is also made up of ordinary trees, patches of grass, puddles, clinging vines, mushrooms, and little wildflowers.