“She was smart and terribly determined, this girl-her will was pure steel, through and through-but she was as human as anyone else. She was lonely, too. Lonely in a way that perhaps only single girls fresh from small Midwestern towns know. Homesickness is not always a vague, nostalgic, almost beautiful emotion, although that is somehow the way we always seem to picture it in our mind. It can be a terribly keen blade, not just a sickness in metaphor but in fact as well. It can change the way one looks at the world; the faces one sees in the street look not just indifferent but ugly....perhaps even malignant. Homesickness is a real sickness- the ache of the uprooted plant.”

“Homesickness is not always a vague, nostalgic, almost beautiful emotion, although that is somehow the way we always seem to picture it in our mind. It can be a terribly keen blade, not just a sickness in metaphor but in fact as well. It can change the way one looks at the world; the faces one sees in the street look not just indifferent but ugly... perhaps even malignant. Homesickness is a real sickness--the ache of the uprooted plant.”

“I just think it's bad when a boy looks at a girl and thinks that the way he sees her is better than she actually is. And I think it's bad when the most honest way a boy can look at a girl is through a camera.”

“But she never thought about the way Terrible looked, at least not that way. He hadn’t been ugly to her for months; he’d gone from just being a face she was familiar with to being a face she loved to look at, a face that made her….happy. Who gave a shit what anyone else saw when they looked at him, when they saw the crooked, many times broken nose, or the scars, or the jutting brow or thick jaw and heavy muttonchops? She knew what she saw, and that was all that mattered. Knew what was behind those hard dark eyes, and wanted it more than anything.”

“Anybody can look at a pretty girl and see a pretty girl. An artist can look at a pretty girl and see the old woman she will become. A better artist can look at an old woman and see the pretty girl that she used to be. But a great artist--a master--and that is what Auguste Rodin was--can look at an old woman, portray her exactly as she is . . . and force the viewer to see the pretty girl she used to be . . . and more than that, he can make anyone with the sensitivity of an armadillo, or even you, see that this lovely young girl is still alive, not old and ugly at all, but simply prisoned inside her ruined body.”

“She was white, perhaps too white. Her eyes, which were almost always cast down, when she raised them testified to the purest of souls, and when she smiled, revealing her small, white teeth, one might be tempted to say that a rose is merely a plant, and ivory just an elephant’s tusk.”