“Now, I don't believe in doing hugs halfway. I can't stand people who try to hug without touching. A hug should be a full embrace - as I wrap my arms around Tony, I am not just holding him, but also trying to lift off his troubles for a moment so that the only thing he can feel is my presence, my support.”

“I stand, walk over to him, sit down on his bed, put my arms around him, hug him. He hugs me back strong and I can feel the shame coming through his arms. I am a Criminal and he is a Judge and I am white and he is black, but at this moment none of that matters. He is a man who needs a friends and I can be his friend.”

“They are so caught up in their happiness that they don't realize I'm not really a part of it. I am wandering along the periphery. I am like the people in the Winslow Homer paintings, sharing the same room with them but not really there. I am like the fish in the aquarium, thinking in a different language, adapting to a life that's not my natural habitat. I am the people in the other cars, each with his or her own story, but passing too quickly to be noticed or understood. . . . There are moments I just sit in my frame, float in my tank, ride in my car and say nothing, think nothing that connects me to anything at all.”

“I don't want to love her. I don't want to be in love. People take love's continuity for granted, just as they take their body's continuity for granted. They don't realize that the best thing about love is its regular presence. Once you can establish that, it's an added foundation to your life. But if you cannot have that regular presence, you only have the one foundation to support you, always.”

“Tony:...but you need something to do about Noah.Paul: I know, I know. The only problem being that (a) he thinks I'm getting back with my ex-boyfriend, (b) he thinks I'll only hurt him, because (c) I've already hurt him and (d) someone else has already hurt him, which means that I'm hurting him even more. So (e) he doesn't trust me, and in all fairness, (g) every time I see him, I (h) want everything to be right again and I (i) want to kiss him madly. This means that (j) my feelings aren't going away anytime soon, but (k) his feelings don't look likely to budge, either. So either (l) I'm out of luck, (m) I'm out of hope, or (n) there's a way to make it up to him that I'm not thinking of. I could (o) beg, (p) plead, (q) grovel, or (r) give up. But, in order to do that, I would have to sacrifice my (s) pride, (t) reputation, and (u) self-respect, even though (v) I have very little of them left and (w) it probably wouldn't work anyway. As a result, I am (x) lost, (y) clue-free, and (z) wondering if you have any idea whatsoever what I should do.”

“If she were running through the rye, if she were headed towards the abyss, I would grab hold with every ounce of my strength, with every scared beat of my heart, with every thought that could only be for her. And if I were to be running the same way, I’d like to think she’d do the same. But maybe her hands would be busy holding the book. Maybe she wouldn’t see me, too intent on looking for Phoebe from the carousel. Or waiting for Holden to hold her, to wrap her in the pages of his arms, to say she was the only one who truly knew him, as I plunged past her, sad to be leaving, and a little happy to be away.”

“My heartbeat accelerates. I am in the here, in the now. I am also in the future. I am holding her and wanting and knowing and hoping all at once. We are the ones who take this thing called music and line it up with this thing called time. We are the ticking, we are the pulsing, we are the underneath every part of this moment. And by making this moment our own, we are rendering it timeless. There is no audience. There are no instruments. There are only bodies and thoughts and murmurs and looks. It's the concert rush to end all concert rushes, because this is what matters. When the heart races, this is what it's racing toward.”