Owen doesn't watch when they place Liz in the River, next to all the other babies who would be born that day. Nor does he watch when the launch nurse pushes Liz away from the shore into the current that leads back to Earth. To the untrained observer, it seems as if Liz's departure has no effect on Owen whatsoever.
Curtis Jest watches Owen before deciding to go over to him.
"Owen," Curtis asks, "do you remember who that was?"
Owen looks up from playing with the boat. He appears to find Curtis's question difficult. "Lizzie?"
"Yes," says Curtis, "that was Lizzie. She was my friend. She was your...your friend, too."
Owen continues playing with the boat. He begins singing Liz's name in the unaffected way children will sometimes sing a name. "Lizzie, Lizzie, Lizzie," he sings. Owen stops singing abruptly and looks up at Curtis. A horrified expression crosses Owen's face. "Is she...gone?"
"Yes," says Curtis.
Owen nods. "Gonegonegonegonegone." Owen begins to cry in an undignified manner, although he isn't entirely sure why he is crying. Curtis takes Owen's hand, leading Owen away from the puddle.
"You know," says Curtis, "you may see her again someday."
"Cool," says Owen, and with that, he stops crying.

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I am so tired of your crap. Do you honestly think you suffer more than everyone else? Do you think you suffer more than I do? Do you think you're the first person to ever have a baby? Or lose someone? Do you think you're some goddamned pioneer when it comes to grief?"

Sadie shifted forward, and he could feel the momentum in their argument. He could feel the cruel thing she was about to say in response to the cruel thing he had said. But the cruel thing did not arrive. Disturbingly, she slumped forward, and started to weep.

He watched her, but he did not go over to her. "Snap out of it, Sadie. Come to the office. We work through our pain. That's what we do. We put the pain into the work, and the work becomes better. But you have to participate. You have to talk to me. You can't ignore me and our company and everything that came before.

The way to turn an ex-lover into a friend is to never stop loving them, to know that when one phase of a relationship ends it can transform into something else. It is to acknowledge that love is both a constant and a variable at the same time.

...love, he thinks. What a bother. It's completely gotten in the way of his plan to drink himself to death, to drive his business to ruin. The most annoying thing about it is that once a person gives a shit about one thing, he finds he has to start giving a shit about everything.
No, the most annoying thing about it is that he's even started to like Elmo.

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Our moment had passed somehow. I was different. He was, too. Without our "madness" to unite us, there wasn't anything much there. Or maybe too much had happened in too short a time. It's like when you take a trip with someone you don't know very well. Sometimes you can get very close very quickly, but then after the trip is over, you realise all that was a false sort of closeness. An intimacy based on the trip more than the travellers, if that makes any sense.

Sam would later tell people that these mazes were his first attempts at writing games. "A maze," he would say, "is a video game distilled to its purest form." Maybe so, but this was revisionist and self-aggrandizing. The mazes were for Sadie. To design a game is to imagine the person who will eventually play it.

A.J. has often reflected that, bit by bit, all the best things in the world are being carved away like fat from meat. First, it had been the record stores, and then the video stores, and then newspapers and magazines, and now even the big chain bookstores were disappearing everywhere you looked. From his point of view, the only thing worse than a world with big chain bookstores was a world with NO big chain bookstores.