“ and some of the people i knew were contemplating our circumstances. our circumstances being poorly paid jobs if we worked in the arts, two hours of sleep if we worked in money, and a newfound sense of intellectual inferiority if we worked in publishing.”

“The good news was that "biology" turned out to be the magic password for working at the Museum of Natural History, just the way "art history" would at the Met or "trust fund" at the MoMA.”

“I thought of a high school report I did on the Belgian artist Rene Magritte and a quote I once read from him, something about his favorite walk being the one he took around his own bedroom. He said that he never understood the need for people to travel because all the poetry and perspective you're ever going to get you already posses. Anais Nin had the same idea. We see the world as we are. So if it's the same brain we bring with us every time we open our eyes, what's the difference if we're looking at an island cove or a pocket watch?”

“Such innocent confusions are like cognitive magic-eye posters. Most of the time it's impossible to go back to the jumbled mess once you've registered the picture. Sex is the exception. So natural and universal is a child's curiosity about sex and so long are we conscious of it before we do it, that our origical impressions of it leave an indelible mark.”

“Sometimes we don't know what we want until we don't get it.”

“If I could just get my partner to see me how she used to - to fall in love with me all over again - everything would be okay. Every morning I would vow to work harder, and every morning something would go wrong.”

“She makes several references to Paul making her "burn," almost like she's conjugating verbs. I burn for him. He burns for me. We burn for each other. One cannot help but suspect VD as a factor in their engagement. This comes up again when King defines a "hapahali" as "two people jumping around in the same skin," an image which, like the burning, is disgusting.”