“Then she waited, with parted lips and a saucy challenge in her eyes, to see how her presence -- the drama of being her -- was registering. In the way of such chicks, she seemed convinced of the originality of her provocation.”

“Zachary's mother, Lucy, waylaid him on the third-floor landing and offered, unsolicited, her opinion that the Traumatics had been the kind of adolescently posturing, angst-mongering boy group that never interested her. Then she waited, with parted lips and a saucy challenge in her eyes, to see how her presence --the drama of being her-- was registering. In the way of such chicks, she seemed convinced of the originality of her provocation. Katz had encountered, practically verbatim, the same provocation a hundred times before, which put him in the ridiculous position now of feeling bad for being unable to pretend to be provoked: of pitying Lucy's doughty little ego, its floatation on a sea of aging-female insecurity. He doubted he could get anywhere with her even if he felt like trying, but he knew that her pride would be hurt if he didn't make at least a token effort to be disagreeable. (p. 194)”

“In a spirit of mutinous resistance, she climbed the steep grassy slope to the bridge, and qhen she stood on the driveway, she decided she would stay there and wait until something significant happened to her. This was the challenge she was putting to existence – she would not stir, not for dinner, not ever for her mother calling her in. She would simply wait on the bridge, calm and obstinate, until events, real events, not her own fantasies, rose to her challenge, and dispelled her insignificance.”

“Amos surely left it behind for a reason, and more and more Mrs. Bowe felt she was following a path trod out for her by another. For the time being, she was willing to play the part allotted to her. But she would keep an eye on the boy in her way.”

“She was beautiful, heratbreakingly beautiful - her eyes and her lips, the stripes on her naked breasts, her vulnerabilty.”

“She didn't even have to smile, and she rarely did outside her house--it was the eyes, her dancer's carriage, the way she seemed to deliberate over the smallest movement of her body.”