The alternative to appropriation is a world in which artists only reference their own cultures. - Gabrielle Zevin

On the night Sam went missing, it occurred to Sadie that nothing in life was as solid-state as it appeared. A childish game could be deadly. A friend might disappear. And as much as a person might try to shield herself from it, the possibility for the other outcome was always there. We are all living, at most, half of a life, she thought. There was the life that you lived, which consisted of the choices you made. And then, there was the other life, the one that was the things you hadn't chosen. And sometimes, this other life felt as palpable as the one you were living. Sometimes, it felt as if you might be walking down Brattle Street, and without warning, you could slip into this other life, like Alice falling down the rabbit hole that led to Wonderland. But it wouldn't be strange like Wonderland, not at all. Because you would have expected all along that it could have turned out that way. You would feel relief, because you had always wondered what that other life would have looked like. And there you were.

There are many challenges to long distance running, but one of the greatest is the question of where to put on's house keys.

The world seemed filled with interesting books to read, interesting plays and movies to see, interesting games to play, interesting food to taste, and interesting people to have sex with and sometimes even to fall in love with. To Marx, it seemed foolish not to love as many things as you could. In the first months she knew him, Sadie disparaged Marx to Sam by calling him "the romantic dilettante." But for Marx, the world was like a breakfast at a five-star hotel in an Asian country — the abundance of it was almost overwhelming. Who wouldn't want a pineapple smoothie, a roast pork bun, an omelet, pickled vegetables, sushi, and a green-tea-flavored croissant? They were all there for the taking and delicious, in their own way.