“When Pat gave her ‘criminal-hero’ Tom Ripley a charmed and parentless life, a wealthy, socially poised Alter Ego (Dickie Greenleaf), and a guilt-free modus operandi (after he kills Dickie, Tom murders only when necessary), she was doing just what her fellow comic book artists were doing with their Superheroes: allowing her fictional character to finesse situations she herself could only approach in wish fulfillment. And when she reimagined her own psychological split in Ripley’s character — endowing him with both her weakest traits (paralyzing self-consciousness and hero-worship) and her wildest dreams (murder and money) — she was turning the material of the ‘comic book’ upside down and making it into something very like a ‘tragic book.’ 'It is always so easy for me to see the world upside down,’ Pat wrote in her diary– and everywhere else.”

“There's lots of law these days, but not much justice. Celebrities murder their wives and go free. A mother kills her children, and the news people on TV say she's the victim and want you to send money to her lawyers. When everything's upside down like this, what fool just sits back and thinks justice will prevail?”

“She had defeated loneliness by bringing to life the books that peopled her imagination and making friends of them.With devastating clarity she saw that her ability was not only a panacea for unhappiness. It was her lifeblood. Part of the very fiber of her being. And here, in Hollywood, it could be fulfilled. She didn't want to be an actress. She was one. All she had to do to be a star was to be true to herself.”

“She felt like a fictional character who'd escaped the book in which her creator had carefully and kindly trapped her, taken a pair of scissors to her outline and leaped, free...”

“In classical pas de deux, the man controls everything. He picks up the girl. He puts her down. He turns her, takes her weight, stops her, and she must always go where he leads. The woman submits to all this completely. But her submission is not feeble. In fact, the only reason she can submit so utterly is because she is very strong in herself. In her center. She does not collapse, or cave, or stutter-step, or flop. No, she holds herself very consciously, very confidently. She is centered within her own weight. So the man always knows where she is. He can feel her. He can absorb her strength.”

“I remember her, not a girl but the girl. The brains behind the all time top ten comic book vixens only wish they could conjure a a siren the likes of Susan Glenn, beneath my feet my own private earthquake registered an eight when Susan Glenn was near. In her presence all was beautiful before she arrived turned grotesque and in her shadows others became goblinesque, if she approached Susan Glenn she didn’t walk she floated, accompanied by Pyrotechnics spectacals that left me feeling a foot tall. She embodied every desireable quality I have ever wanted. In my mind I was a peasant before a Queen. And so Susan Glenn and I were never a thing, if I could do it again, I’d do it differently.”