People are more than you think they are. And they’re less, as well. The trick lies in negotiating your way between the two.

Maybe – let’s not rule it out – this will be the song that cuts clean, the one that matters, the one that sheds standard-issue romance and reveals, under its old skin, a raw blood-red devotion deeper than comfort, a desire profounder than schoolboy satisfaction, a yearning cold and immaculate and unstoppable as snow.

Constantine, eight years old, was working in his father's garden and thinking about his own garden, a square of powdered granite he had staked out and combed into rows at the top of his family's land.

He's one of those smart, drifty young people who, after certain deliberations, decides he wants to do Something in the Arts but won't, possibly can't, think in terms of an actual job; who seems to imagine that youth and brains and willingness will simply summon an occupation, the precise and perfect nature of which will reveal itself in its own time.

Dear Leonard. To look life in the face. Always to look life in the face and to know it for what it is. At last to know it. To love it for what it is, and then, to put it away. Leonard. Always the years between us. Always the years. Always the love. Always the hours.

She'll be willing to meet someone who can hold her interest for more than a few months, and that guy will teach her about domestic deepenings, the modest reliable thrill of the familiar, which as almost everyone but Liz knows has been the way of human happiness since humanity was born.

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Here's the sting of livingness. He's back after his nightly voyage of sleep, all clarity and purpose; he's renewed his citizenship in the world of people who strive and connect, people who mean business, people who burn and want, who remember everything, who walk lucid and unafraid.

Parents are the mystified criminals, blinking in the docks, making it all the worse for themselves with every word they utter.

Youth is the only sexy tragedy. It's James Dean jumping into his Porsche Spyder, it's Marilyn heading off to bed.

It was either the wind or the spirit of the house itself, briefly unsettled by our nocturnal absence but to old to be surprised by the errands born from the gap between what we can imagine and what we can in fact create.