“Try telling the boy who’s just had his girlfriend’s namecut into his arm that there’s slippage between the signifierand the signified. Or better yet explain to the girlwho watched in the mirror as the tattoo artist stitchedthe word for her father’s name (on earth as in heaven)across her back that words aren’t made of flesh and blood,that they don’t bite the skin. Language is the animalwe’ve trained to pick up the scent of meaning. It’s whywhen the boy hears his father yelling at the doorhe sends the dog that he’s kept hungry, that he’s kicked,then loved, to attack the man, to show him that every wordhas a consequence, that language, when used right, hurts.”

“Here is The Boy with the Thorn in His Side, dying in your world. A man made monster with every human emotion, overdosed on worthlessness in a world that could never wrap it’s head around him (so don’t even try).When it’s all over just remember every single word you ever said was always just a bullet to his head. Bury him underground between friends and love - the only things that are gonna make it to the end with him. Look for his body buried beneath where the yellow weeds are growing and know he’s still living in his nightmares.”

“Yeah. That boy over there. He’s my friend.'My gaze followed his pointing finger toward a little boy wearing a stuffed steering wheel attached around his waist and running around a racetrack laid out on the floor. 'Oh, yeah? What’s his name?''I don’t know.' Simon shrugged, unconcerned, and headed back to the playground.I watched him leap right into the game with a friend whose name didn’t matter.”

“She tried not to slip her arms beneath his trench coat, or spread her palms across his broad, muscular back, or inhale the delicious scent of him, or rest her cheek against his hard, warm chest. She tried. And failed.”

“Do you have the hots for this boy?” her father asked in all seriousness. “Do we need to have him over for dinner so that I can show him my own gun collection?”“Dad.”“Threatening the police isn’t one of your best ideas, Frank,” her mother offered in Olivia’s defense.“He’s not the police, Katy. He’s some hormone driven boy who wants to sweet-talk our daughter into bed so that he can fire off a few rounds of his own.”“Dad!” Olivia’s face grew hot with humiliation.“I’m just speaking the truth, honey. He’s a man. Don’t think he’s never considered it. You’re a beautiful young woman. All I’m saying is that I’d like to send him a little message before he gets any ideas.”Olivia melted into her seat, covering her face with her hands.“Frank, we’re eating.”“Yeah, and?”

“His oldest child from his second marriage, Matthew, stayed up all the night before he was buried, putting his father’s history on a wooden tombstone. He began with his father’s name on the first line, and on the next, he put the years ofhis father’s coming and going. Then all the things he knew his father had been. Husband. Father. Farmer. Grandfather. Patroller. Tobacco Man. Tree Maker. The letters ofthe words got smaller and smaller as the boy, not quite twelve, neared the bottom ofthe wood because he had never made a headstone for anyone before so he had not compensated for all that he would have to put on it. The boy filled up the whole piece ofwood and at the end of the last line he put a period. His father’s grave would remain, but the wooden marker would not last out the year. The boy knew better than to put a period at the end ofsuch a sentence. Something that was not even a true and proper sentence, with subject aplenty, but no verb to pull it all together. A sentence, Matthew’s teacher back in Virginia had tried to drum into his thick Kinsey head, could live without a subject, but it could not live without a verb.”