ece

“And in a small house five miles away was a man who held my mud-encrusted charm bracelet out to his wife.


Look what I found at the old industrial park," he said. "A construction guy said they were bulldozing the whole lot. They're afraid of sink holes like that one that swallowed the cars."


His wife poured him some water from the sink as he fingered the tiny bike and the ballet shoe, the flower basket and the thimble. He held out the muddy bracelet as she set down his glass.


This little girl's grown up by now," she said.


Almost. Not quite.


I wish you all a long and happy life.”
― Alice Sebold, The Lovely Bones

“How to Commit the Perfect Murder" was an old game in heaven. I always chose the icicle: the weapon melts away.”
― Alice Sebold, The Lovely Bones

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. ”
― Jeffrey Eugenides, Middlesex

“You look invincible,' my mother said one night.
I loved these times, when we seemed to feel the same thing. I turned to her, wrapped in my thin gown, and said:
I am.”
― Alice Sebold, The Lovely Bones