“The woman is perfected.Her deadBody wears the smile of accomplishment,The illusion of a Greek necessityFlows in the scrolls of her toga,Her bareFeet seem to be saying:We have come so far, it is over.Each dead child coiled, a white serpent,One at each littlePitcher of milk, now empty.She has foldedThem back into her body as petalsOf a rose close when the gardenStiffens and odors bleedFrom the sweet, deep throats of the night flower.The moon has nothing to be sad about,Staring from her hood of bone.She is used to this sort of thing.Her blacks crackle and drag.”

“A confident woman wears a smile and has this air of comfortability and pleasantness about her.”

“But then I'm distracted by movement in the Forest, a glimpse of red at the edge of my vision. She's no longer running, no longer even walking or standing, but crawling now. Dragging her broken body across the ground toward me, her fingers clawing at the dirt. Her progress is slow, unbearably so. Such that it's almost sad to see her reduced to this. Her body has used up it's stores of energy and has begun collapsing in on itself.”

“The blond stuffs her hairbrush, which is now spun with gold and black silk (a miniature angel's nest) back into her backpack next to her anthology of English literature. The pages are so thin, they're like dead girls' dreams, translucent skin. On them it seems that everything that has ever been thought has been written.”

“The memories of home and of her children rose up in her imagination with a peculiar charm quite new to her, with a sort of new brilliance. That world of her own seemed quite new to her now so sweet and precious that she would not on any account spend an extra day outside it, and she made up her mind that she would certainly go back next day.”

“The long black nights, when the moon hides her face, when the stars are afraid, are not so black. The silence that dwells in the forest is not so black. There is nothing in the world so black as thy hair.”