“Peter hesitates. "Ridiculous" is the least of it. How about offensive, insulting? How about the implication that "someone who's never used" is a sad and small figure, standing on the platform, sensibly dressed, as the bus pulls in? Even now, after all those ad campaigns, after all we've learned about how bad it really and truly gets, there is the glamour of self-destruction, imperishable, gem-hard, like some cursed ancient talisman that cannot be destroyed by any known means. Still, still, the ones who go down can seem as if they're more complicatedly, more dangerously attuned to the sadness and, yes, the impossible grandeur. They're romantic, goddamn them; we just can't get it up in quite the same way for the sober and sensible, the dogged achievers, for all the good they do. We don't adore them with the exquisite disdain we can bring to the addicts and miscreants. It helps, of course - let's not get carried away - if you're a young prince like Mizzy, and you've actually got something of value to destroy in the first place.”

“It helps, of course - let's not get carried away - if you'er a young prince like Mizzy, and you've actually got something of value to destroy in the first place.”

“I wanted to be a writer, that's all. I wanted to write about it all. Everything that happens in a moment. The way the flowers looked when you carried them in your arms. This towel, how it smells, how it feels, this thread. All our feelings, yours and mine. The history of it, who we once were. Everything in the world. Everything all mixed up, like it's all mixed up now.”

“Beauty - the beauty Peter craves - is this, then: a human bundle of accidental grace and doom and hope. Mizzy must have hope, he must, he wouldn't shine like this if he were in true despair, and of course he's young, who in this world despairs more exquisitely than the young, it's something the old tend to forget.”

“Milwaukee, Rebecca. Order and sobriety and a devotion to cleanliness that scours out the soul. Decent people doing their best to live decent lives, three's nothing really to hate them for, they do their jobs and maintain their property and love their children (most of the time); they take family vacations and visit relatives and decorate their houses for the holidays, collect some things and save up for other things; they're good people (most of them, most of the time), but if you were me, if you were young Pete Harris, you felt the modesty of it eroding you, depopulating you, all those little satisfactions and no big, dangerous ones; no heroism, no genius, no terrible yearning for anything you can't at least in theory actually have. If you were young lank-haired, pustule-plagued Pete Harris you felt like you were always about to expire from the safety of your life, its obdurate sensibleness, that Protestant love of the unexceptional; the eternal certainty of the faithful that flamboyance and the macabre are not just threatening but - worse - uninteresting.”

“I don't have any regrets, really, except that one. I wanted to write about you, about us, really. Do you know what I mean? I wanted to write about everything, the life we're having and the lives we might have had. I wanted to write about all the ways we might have died.”

“He believes that a real work of art can be owned but should not be subject to capture; that it should radiate such authority, such bizarre but confident beauty (or unbeauty) that it can't be undone by even the most ludicrous sofas or side tables. A real work of art should rule the room, and the clients should call up not to complain about the art but to say that the art has helped them understand how the room is all a horrible mistake, can Peter suggest a designer to help them start over again.”