“JapanToday I pass the time readinga favorite haiku,saying the few words over and over.It feels like eatingthe same small, perfect grapeagain and again.I walk through the house reciting itand leave its letters fallingthrough the air of every room.I stand by the big silence of the piano and say it.I say it in front of a painting of the sea.I tap out its rhythm on an empty shelf.I listen to myself saying it,then I say it without listening,then I hear it without saying it.And when the dog looks up at me,I kneel down on the floorand whisper it into each of his long white ears.It’s the one about the one-tontemple bellwith the moth sleeping on its surface,and every time I say it, I feel the excruciatingpressure of the mothon the surface of the iron bell.When I say it at the window,the bell is the worldand I am the moth resting there.When I say it into the mirror,I am the heavy belland the moth is life with its papery wings.And later, when I say it to you in the dark,you are the bell,and I am the tongue of the bell, ringing you,and the moth has flownfrom its lineand moves like a hinge in the air above our bed.”

“The whole idea of it makes me feellike I'm coming down with something,something worse than any stomach acheor the headaches I get from reading in bad light--a kind of measles of the spirit,a mumps of the psyche,a disfiguring chicken pox of the soul.You tell me it is too early to be looking back,but that is because you have forgottenthe perfect simplicity of being oneand the beautiful complexity introduced by two.But I can lie on my bed and remember every digit.At four I was an Arabian wizard.I could make myself invisibleby drinking a glass of milk a certain way.At seven I was a soldier, at nine a prince.But now I am mostly at the windowwatching the late afternoon light.Back then it never fell so solemnlyagainst the side of my tree house,and my bicycle never leaned against the garageas it does today,all the dark blue speed drained out of it.This is the beginning of sadness, I say to myself,as I walk through the universe in my sneakers.It is time to say good-bye to my imaginary friends,time to turn the first big number.It seems only yesterday I used to believethere was nothing under my skin but light.If you cut me I could shine.But now when I fall upon the sidewalks of life,I skin my knees. I bleed.”

“Peeta, how come I never know when you're having a nightmare?” I say.“I don't know. I don't think I cry out or thrash around or anything. I just come to, paralyzed with terror,” he says.“You should wake me,” I say, thinking about how I can interrupt his sleep two or three times on a bad night. About how long it can take to calm me down.“It's not necessary. My nightmares are usually about losing you,” he says. “I'm okay once I realize you're here.”

“Agreed," I say. "It's going to be a long hour.""Maybe not that long," says Peeta." what was that you were saying just before the food arrived? Something about me ... no competition ... best thing that ever happened to you ... "" I don't remember that last part," I say, hoping it's too dim in here for the cameras to pick up my blush." Oh, that's right. That's what I was thinking," he says " Scoot over, I'm freezing.”

“A disturbing thought hits me,"but then our only neighbor would be Haymich!" "Ah, that'll be nice,"says Peeta, tightening his arms around me."You and me and Haymich. Very cozy. Picnics, birthdays. long winters around the campfire retelling old Hunger Games tales." "I told you he hates me!" I say, but I can't help laughing at the image of Haymich becoming my new pal. "Only sometimes. When he's sober, I've never heard him say one negative thing about you," says Peeta. He's never sober!" I protest. That's right. Who am I thinking of? Oh, I know. It's Cinna who likes you. But that's mainly because you didn't try to run when he set you in fire," says Peeta. "On the other hand, Haymich ... well, if I were you, I'd avoid Haymich completely. He Hates you." " I thought that you said I was his favorite," I say. "He hates me more," says Peeta, "I don't think people in general are his sort of thing.”

“I know what it's like when you can't get no one to listen to you. When what you say don't matter. I half think every girl knows what it's like to be silenced.”

“In a field, I am the absence of field. In a crowd, I am the absence of crowd. In a dream, I am the absence of dream. But I don't want to live as an absence. I move to keep things whole. Because sometimes I feel drunk on positivity. Sometimes I feel amazement at the tangle of words and lives, and I want to be a part of that tangle. "Game over," you say, and I don't know which I take more exception to- the fact that you say that it's over, or the fact that you say it's a game. It's only over when one of us keeps the notebook for good. It's only a game if there is an absence of meaning. And we've already gone too far for that.”