“She went out in the city with its lights like a radioactive phosphorescence, wandered through galleries where the high-priced art on the walls was the same as the graffiti scrawled outside by taggers who were arrested or killed for it, went to parties in hotel rooms where white-skinned, lingerie-clad rock stars had been staying the night their husbands shot themselves in the head, listened to music in nightclubs where stunning boyish actors had OD'd on the pavement.”

“No one noticed Witch Baby as she went back inside the cottage, into the room she and Cherokee shared.Cherokee's side of the room was filled with feathers, crystals, butterfly wings, rocks, shells and dried flowers. there was a small tepee that Coyote had helped Cherokee make. The walls on Witch Baby's side of the room were covered with newspaper clippings - nuclear accidents, violence, poverty and disease. Every night, before she went to bed, Witch Baby cut out three articles or pictures with a pair of toenail scissors and taped them to the wall. they make Cherokee cry."Why do you want to have those up there?" Weetzie asked. "You'll both have nightmares.”

“At the next Goat Guys show, the band came on stage with their wings, their haunches, their horns. The audience swooned at their feet.Cherokee spun and spun until she was dizzy, until she was not sure anymore if she or the stage was in motion.Afterwards two girls in lingerie and over-the-knee leather boots offered a joint to Raphael and Angel Juan. All four of them were smoking backstage when Cherokee and Witch Baby came through the door.Witch Baby went and wriggled onto Angel Juan's lap. He was wearing the horns and massaging his temples. His face looked constricted with pain until he inhaled the smoke from the joint."Are you okay?" Witch Baby asked."My head's killing me.”

“Why was fabulousness important? The world was a scary, sad place and adornment was one of the only ways she knew to make herself and the people around her forget their troubles. That was why she had opened her store almost five years ago. Everyone who entered the little square white house with miniature Corinthian columns, cherub statues, and French windows seemed to leave carrying armloads of newly handmade and well spruced-up recycled vintage clothing, humming sixties girl-group songs, seventies glam and punk, eighties New Wave one-hit wonders, or nineties grunge, doing silly dances, and not caring what anyone thought. Weetzie loved the old dresses she found and sold, because they had their own secret histories. She always wondered where, when, and how they had been worn. What they had seen. Old dresses were like old ladies.”

“It’s so sick,” Duck said. “I nicked myself shaving that last night at home, and I saw my own blood and I thought, How could I live in a world where this exists—where love can become death? Even if the doctor says we’re okay, how could we go on watching people die?” Duck buried his face against Dirk’s shoulder and the streetlamp light shone in through the window, lighting up Duck’s hair. Dirk stroked Duck’s head. “I don’t know. But we’ve got to be together,” he said.”

“At first we raced through space, like shadows and light; her rants, my raves; her dark hair, my blonde; black dresses, white. She's a purple-black African-violet-dark butterfly and I a white moth. We were two wild ponies, Dawn and Midnight, the wind electrifying our manes and our hooves quaking the city; we were photo negatives of each other, together making the perfect image of a girl.”

“The fairy who was not old, not young, who was red roses, white snowfall, who was blind and saw everything, who sent stories resounding through the universe said, You much reach inside yourself where I live like a story, not old, not young, laughing at my own sorrow, weeping pearls at weddings, wielding a torch to melt sand into something clear and bright.”