“Our favorite film is Vertigo. Amy Eleni and I must watch it seventeen or eighteen times a year, and with each viewing our raptness grows looser and looser; we don't need the visuals anymore--one or the other of us can go into the kitchen halfway through and call out the dialogue while making up two cups of Horlicks. From the minute you see empty, beautiful, blond Madeleine Elster, you know she is doomed because she exists in a way that Scottie, the male lead, just doesn't. You know that Madeleine is in big trouble, because she's a vast wound in a landscape where wounds aren't allowed to stay open--people have to shut up and heal up. She's in trouble because the film works to a plan that makes trauma speak itself out, speak itself to excess until it dies; this film at the peak of its slyness, when people sweat and lick their lips excessively and pound their chests and grab their hair and twist their heads from side to side, performing this unspeakable torment.”

“Extinction, that’s where it’s going, that’s where we’re headed. And we’re going that way because we’re all so fucking afraid of it. We’re so afraid of dying off that we’re setting ourselves up for exactly that. Keeping away from each other, rarely making eye contact with those we don’t already know. Not helping when folks need help. Avoiding confrontation and staying away when we see anything which might instill fear. Doing our best to stay out of trouble, while in effect creating more trouble.”

“She cried, 'No choice! No choice!' She doesn't know. If she doesn't speak, she is making a choice. If she doesn't try, she can lose her chance forever. I know this, because I was raised the Chinese way: I was taught to desire nothing, to swallow other people's misery, to eat my own bitterness.and even though I taught my daughter the opposite, she still came out the same way! Maybe it is because she was born to me and she was born a girl. And I was born to my mother and I was born a girl. All of us are like stairs, one step after another, going up and down, but all going the same way. I know how it is to be quiet, to listen and watch, as if your life were a dream. You can close your eyes when you no longer want to watch. But when you no longer want to listen, what can you do? I can still hear what happened more than sixty years ago. ”

“The thing is, Iris, I've never liked the idea of compromise. In films and in stories people who love each other — really love each other — make horrendous sacrifices. They give kidneys they move across the world they die. Or become the undead because you know I like that sort of book. Basically the heroine's lover calls and she answers. Which is stupid. You know why ” Iris shook her head. “Because he's always fucking calling.”

“When things are serious and either Amy Eleni or I need to beat our personal hysteric, the informal code is to seize your head and twist coils of your hair around your fingers and groan, "I'm not mad! I'm not mad! I don't want to die!" And if you have a friend who knows, then the friend grabs her head too and replies, "There's someone inside of me, and she says I must die!" That way it is stupid, and funny, and serious.Our hysteric is the revelation that we refuse to be consoled for all this noise, for all this noise and for the attacks on our softnesses, the loss of sensitivity to my scalp with every batch of box braids. Sometimes we cannot see or hear or breathe because of our fright that this is all our bodies will know. We're scared by the happy, hollow disciple that lines our brains and stomachs if we manage to stop after one biscuit. We need some kind of answer. We need to know what that biscuit-tin discipline is, where it comes from. We need to know whether it's a sign that our bones are turning against the rest of us, whether anyone will help us if our bones win out, or whether the people who should help us will say "You look wonderful!" instead.”

“In your country, if you are not scared enough already, you can go to watch a horror film... For me and the girls from my village, horror is a disease and we are sick with it. it is not an illness you can cure yourself of my standing up and letting the big red cinema seat fold itself up behind you. That would be a good trick... But the film in your memory, you cannot walk out of it so easily. Wherever you go it is always playing. So when I say that I am a refugee, you must understand that there is no refuge.”