“Reminiscing in the drizzle of Portland, I notice the ring that’s landed on your finger, a massiveinsect of glitter, a chandelier shining at the endof a long tunnel. Thirteen years ago, you hid the hurtin your voice under a blanket and said there’s two kindsof women—those you write poems aboutand those you don’t. It’s true. I never brought youa bouquet of sonnets, or served you haiku in bed.My idea of courtship was tapping Jane’s Addictionlyrics in Morse code on your window at three A.M., whiskey doing push-ups on my breath. But I workedwithin the confines of my character, castas the bad boy in your life, the Magellanof your dark side. We don’t have a past so muchas a bunch of electricity and liquor, powernever put to good use. What we had togethermakes it sound like a virus, as if we caughtone another like colds, and desire was merelya symptom that could be treated with soupand lots of sex. Gliding beside you now, I feel like the Benjamin Franklin of monogamy, as if I invented it, but I’m still not immuneto your waterfall scent, still haven’t developedantibodies for your smile. I don’t know how longregret existed before humans stuck a word on it.I don’t know how many paper towels it would taketo wipe up the Pacific Ocean, or why the lightof a candle being blown out travels fasterthan the luminescence of one that’s just been lit, but I do know that all our huffing and puffinginto each other’s ears—as if the brain was a trickbirthday candle—didn’t make the silenceany easier to navigate. I’m sorry all the kissesI scrawled on your neck were writtenin disappearing ink. Sometimes I thought of youso hard one of your legs would pop outof my ear hole, and when I was sleeping, you’d pressyour face against the porthole of my submarine.I’m sorry this poem has taken thirteen yearsto reach you. I wish that just once, instead of skiddingoff the shoulder blade’s precipice and joyridingover flesh, we’d put our hands away like chocolateto be saved for later, and deciphered the calligraphyof each other’s eyelashes, translated a paragraphfrom the volumes of what couldn’t be said.”

“I don’t know what your type is. I don’t know what your deal is. I don’t even know if you have a boyfriend. I know I like you and I want to be in yourlife, that’s it, and if you have any room for a boyfriend, I would like to be your boyfriend, and if you don’t have any room, I would like to be your friend.Any room you have for me in your life is great. If you would like me to start out in one room and move to another, I could do that.”

“I thought I was going to die. I wanted to die. And I thought if I was going to die I would die with you.Someone like you, young as I am, I saw so many dying near me in the last year. I didn’t feel scared. Icertainly wasn’t brave just now. I thought to myself, We have this villa this grass, we should have laindown together, you in my arms, before we died. I wanted to touch that bone at your neck, collarbone,it’s like a small hard wing under your skin. I wanted to place my fingers against it. I’ve always liked fleshthe colour of rivers and rocks or like the brown eye of a Susan, do you know what that flower is? Haveyou seen them? I am so tired, Kip, I want to sleep. I want to sleep under this tree, put my eye againstyour collarbone I just want to close my eyes without thinking of others, want to find the crook of a treeand climb into it and sleep. What a careful mind! To know which wire to cut. How did you know? Youkept saying I don’t know I don’t know, but you did. Right? Don’t shake, you have to be a still bed forme, let me curl up as if you were a good grandfather I could hug, I love the word ‘curl,’ such a slowword, you can’t rush it...”

“Pamela, I’m in love with you. Yeah, it’s that bad. You’re so beautiful to me. Shut up! Lemme tell you. Let me. Every time I look at your face or even remember it, it wrecks me - and the way you are with me - and you’re just fun and you shit all over me and you make fun of me and you’re real. I don’t have enough time in any day to think about you enough. I feel like I’m going to live a thousand years cause that’s how long it’s gonna take me to have one thought about you which is that I’m crazy about you, Pamela. I don’t wanna be with anybody else. I don’t. I really don’t. I don’t think about women anymore. I think about you. I had a dream the other night that you and I were on a train. We were on this train and you were holding my hand. That’s the whole dream. You were holding my hand and I felt you holding my hand. I woke up and I couldn’t believe it wasn’t real. I’m sick in love with you, Pamela. It’s like a condition. It’s like polio. I feel like I’m gonna die if I can’t be with you. And I can’t be with you. So I’m gonna die - and I don’t care cause I was brought into existence to know you and that’s enough. The idea that you would want me back it’s like greedy.”

“He’s just a good all-around horse. He aint a finished horse but I think he’ll make a cow horse. I’m pleased to hear it. Of course your preference is for one that’ll bow up like a bandsaw and run head first into the barn wall.John Grady smiled. Horse of my dreams, he said. It aint exactly like that.How is it then?I don’t know. I think it’s just somethin you like. Or don’t like. You can add up all of a horse’s good points on a sheet of paper and it still wont tell you whether you’ll like the horse or not.What about if you add up all his bad ones?I don’t know. I’d say you’d probably done made up your mind at that point.You think there’s horses so spoiled you cant do nothin with em?Yes I do. But probably not as many as you might think.Maybe not. You think a horse can understand what a man says?You mean like words?I don’t know. Like can he understand what he says.John Grady looked out the window. Water was beaded on the glass. Two bats were hunting in the barnlight. No, he said. I think he can understand what you mean.”

“You know, Lockie,’ she said aloud.‘What?’‘The thing about parents is . . . the thing about good parents — and I think your parents are pretty good . . .’‘Yeah, Mum makes cakes, amazing cakes, and Dad takes me fishing even when there’s work to do. They’re good parents, my mum and dad. But . . . but they didn’t find me.’‘I know, Lockie, but I promise they were looking. When we get you home they’ll tell you. I promise they were looking.’‘I should have stayed by the stroller. Maybe they’re mad and that’s why they didn’t look. Maybe they know I’m a bad boy.’ ‘You are not bad, Lockie,’ said Tina. She said the words slowly, patiently. ‘You are not bad and your parents sound like they’re pretty good parents. And you know . . . well, the thing about good parents is that they kind of love you no matter what.’‘No matter what?’‘Yeah, whatever happens, whatever you do, they still love you. Sometimes they shout when you do stuff they don’t like but they always love you.’‘What if the stuff you do is really bad?’‘They’ll still love you. That’s their job.’‘No, I mean what if the stuff you did is really, really bad?’‘It doesn’t matter, Lockie. You’re just a kid. Nothing you could do could be that bad.’‘You don’t know what bad is,’ said Lockie, and then he repeated the words to himself. ‘You don’t know what bad is.”