“I looked around the garden, the sun feeling warm on my back. "So why are you here? I would think you'd want to be as far away from a hurricane as possible."She looked at me as if I'd just suggested streaking down the beach. It took her a moment to answer. "Because this is home." She wanted to see if the words registered with me, but I just looked back at her, not understanding at all.After a deep breath, she looked up at a tall oak tree beyond the garden, its leaves still green against the early October sky, the limbs now thick with foliage. "Because the water recedes, and the sun comes out, and the trees grow back. Because" -she spread her hands, indicated the garden and the trees and, I imagined, the entire peninsula of Biloxi- "because we've learned that great tragedy gives us opportunities for great kindness. It's like a needed reminder that the human spirit is alive and well despite all evidence to the contrary." She lowered her hands to her sides. "I figured I wasn't dead, so I must not be done”

“She laughs and looks out the window and I think for a minute that she's going to start to cry. I'm standing by the door and I look over at the Elvis Costello poster, at his eyes, watching her, watching us, and I try to get her away from it, so I tell her to come over here, sit down, and she thinks I want to hug her or something and she comes over to me and puts her arms around my back and says something like 'I think we've all lost some sort of feeling.”

“We've learned that great tragedy gives us opportunities for great kindness. It's like a needed reminder that the human spirit is alive and well despite all evidence to the contrary.”

“I took a deep breath and kept my focus fixed on her. "Making me chase you wouldn't be a good idea right now, flower," I stated, fully aware of my Wolf."No, it wouldn't, but you need to stay over there," she said firmly.My brow furrowed. "Why?""Because, if you come near me, I will want to kiss you," she said, nibbling her lower lip the way I wanted to."Well good, because I want to kiss you too." I moved back the way I had come, and so did she. "Clare—""No, not good." She shook her head. "Kissing leads to touching, or grinding, or"—she shuddered as her energy suggestively brushed against mine— "or petting, and almost stripping.”

“She raises her hands and places them on either side of my face. My skin burns beneath her touch. 'I think you're beautiful.'I smile, thinking she's done. But she releases my face and places her palms on my chest, directly over my heart.'You're beautiful right here,' she says.I close my eyes, and the breath rushes from my lungs.'I see the good in you, Dante,' Charlie continues, her words rolling together off her tongue. 'Even if you don't, I do. You have a good heart. You know how I know?'I open my eyes. She's looking at me like nothing else in the world exists. Like the entire planet and all of mankind just vanished. She slowly wraps my hands inside her own as best she can and places them on her chest. 'Because I feel it here.' She taps our hands against her chest. 'I know you're good, Dante. Because I feel it inside of me.”

“Irma, she said. But I had started to walk away. I heard her say some more things but by then I had yanked my skirt up and was running down the road away from her and begging the wind to obliterate her voice. She wanted to live with me. She missed me. She wanted me to come back home. She wanted to run away. She was yelling all this stuff and I wanted so badly for her to shut up. She was quiet for a second and I stopped running and turned around once to look at her. She was a thimble-sized girl on the road, a speck of a living thing. Her white-blond hair flew around her head like a small fire and it was all I could see because everything else about her blended in with the countryside. He offered you a what? she yelled. An espresso! I yelled back. It was like yelling at a shorting wire or a burning bush. What is it? she said. Coffee! I yelled. Irma, can I come and live--I turned around again and began to run.”