“I do feel responsible. He used to be able to look after himself. Now he can't. That's so different, so strange. The big question is: Is more improvement really possible, or should I stop pushing him?' [p. 153]”

“I imagine that she flushes, seeing him there, for she is at that age when even the most commonplace boys take on a sense of mystery. And this boy is not ordinary. He is wild and he has strange and fanciful perceptions. [p. 153]”

“Sholem [a painter] was saying that freedom, for him, is having the technical facility to be able to execute whatever he wants, just whatever image he has in his mind. But that's not freedom! That's control, or power. Whereas I think Margaux understands freedom to be the freedom to take risks, the freedom to do something bad or appear foolish. To not recognize that difference is a pretty big thing. [...] "It's like with improv," Misha said. "True improv is about surprising yourself--but most people won't improvise truthfully. They're afraid. What they do is pull from their bag of tricks. They take what they already know how to do and apply it to the present situation. But that's cheating! And cheating's bad for an artist. It's bad in life--but it's really bad in art." -p.20-1, How Should A Person Be”

“So do I kill myself now, or do I wait and do it in front of Evan so he feels really, really, really bad?”

“I can't explain my feelings for him...they're strange. But he says it is why we are so much alike, why I dream of him. He calls it The Craving.”

“You know what he taught me? He taught me to feel more. He taught me to give myself over to feelings. And now that's all I have. I'm swamped by them. I can't breathe because I feel so damn much.”