“The answers were maddeningly absent—it was like trying to remember a song that you knew made you feel a certain way, without a title, artist, or even a few bars to bring it back.”

“Sasha's green eyes were right up against yours, the lashes interlocking. "In Naples," she said, "there were kids who were just lost. You knew they were never going to get back to what they'd been, or have a normal life. And then there were other ones who you thought, maybe they will."...You opened your eyes, which you hadn't realized were shut again. "what I'm saying is, We're the survivors," Sasha said...."Not everyone is. But we are. Okay?”

“The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.”

“But try as Phoebe might to blend with her peers, it felt like bluffing, mouthing the words to a song she'd never been taught, always a beat late. At best, she fooled them. But the chance to distinguish herself, impress them in the smallest way, was lost. At her vast public high school Phoebe had felt reduced to a pidgin version of herself, as during "conversations" in French class - Where is the cat? Have you seen the cat? Look! Pierre gives the cat a bath - such was her level of fluency while discussing bongs or bands or how fucked-up someone was at a party.”

“You can't tell. That's something I'm learning here in N.Y.C: you have no fucking idea what people are really like. They're not even two-faced--they're, like, multiple personalities.”

“He seemed to savor telling the story, as if he'd memorized its details especially for her: how three or four days after she and Lulu had left the general's redoubt, the photographers began showing up, first one or two whom the soldiers ferreted out of the jungle and imprisoned, then more, too many to capture or even count-they were superb hiders, crouching like monkeys in the trees, burying themselves i shallow pits camouflaging inside bunches of leaves. Assassins has never managed to locate the general with any precision, but the photographers made it look easy: scores of them surging across the border without visas, curled in baskets and wine casks, rolled up in rugs, juddering over unpaved roads in the backs of trucks and eventually surrounding the general's enclave, which he didn't dare leave.”

“and it’s all kind of moving and sweet except that you’re not completely there—a part of you is a few feet away, or above, thinking,”